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9 



EXPERIENCE 




JOHN DALY MURPHY 



EXPERIENCE 

A Morality Play 
of Today 

BY 

GEORGE v/hOBART 



ACTING VERSION 



IS 



'V-i, 



New York 
THE H. K. FLY COMPANY 

Publishers 






Copyright, 19 14, by 
George V. Hobart 

Copyright, 19 15, by 
The H. K. Fly Company 



Tn its present form this play is dedicated to the 
reading public only, and no performances of it may 
be given. Any piracy or infringement will be pros- 
ecuted in accordance with the penalties provided 
by the United States Statutes : — 

Sec. 496G. — Any person publicly performing or representing 
any dramatic or musical composition, for which copyright 
has been obtained, without the consent of the proprietor of 
the said dramatic or musical composition, or his heirs or 
assigns, shall be liable for damages therefor, such damages 
in all cases to be assessed at such sum, not less than one 
hundred dollars for the first and fifty dollars for every 
subsequent performance as to the Court shall appear just. 
If the unlawful performance and representation be wilful 
and for profit, such person or persons shall be guiylt of a 
misdemeanor, and upon conviction be imprisoned for a 
period not exceeding one year. — U. S. Revised Statutes, 
Title 60, Chap. 3. 



(\PR2 1915 

iCI.A40n733 



To 

The Three 
Who Heard It First 



CONTENTS 

PAGE 

The First Episode 
"In the Land Where Dreams Begin" 9 

The Second Episode 
"In the Street of Vacillation" 19 

The Third Episode 
"The Primrose Path" 28 

The Fourth Episode 
"In the Corridors of Chance" 56 

The Fifth Episode 
"The Street of Disillusion" 75 

The Sixth Episode 

"In the House of Last Resort" 83 

The Seventh Episode 
"The Street of Remorse" Ill 

The Eighth Episode 
"The House of Lost Souls" 115 

The Ninth Episode 
"The Street of Forgotten Days" 122 

The Tenth Episode 
"In the Land Where the Dreamer Wakens" 125 





THE cast 


{In the 


order of their appearance,) 


Love 




Hope 
Youth 


First Episode, 


Ambition 




Experience 




Pleasure 


Second Episode, 


Opportunity 




Gush ^ 




Drivel 




Excitement 




Travel 




Song 




Sport 




Fashion 




Blueblood 




Style 
Frivolity 


Third Episode, 


Conceit 




Snob 




Pride 




Beauty 




Deceit 




Slander 




Wealth 




Intoxication 




Passion 





RouletteDealers' 




Good Nature 




Caution 




Venture 




Superstition 




System 
Stupid 


^ Fourth Episode, 


Despair 




Waiter 




Chance 




Careless 




Thoughtless 




Work 


Fifth Episode, 


Grouch 




Frailty 




Makeshift 




Rogue 




Dissolute 




Sneak 




Illiterate 


Sixth Episode, 


Reckless 




Cheat 




Indolence 




Rascal 




Poverty 




Law 




Delusion 


Seventh Episode 


Habit 




Degradation 


Eighth Episode. 


Crime 





THE FIRST EPISODE. 



IN THE LAND WHERE DREAMS BEGIN. 



Description : The Home of Love, on the Hilltop. There 
is a small, old-fashioned cottage at Left. 
It is covered with vines and rambler roses. 
A practical door and window in cottage. 
A rustic fence crosses stage obliquely. A 
country lane outside of the fence. Inside 
the fence and around the house is the 
flower garden. A rustic bench is near the 
fence. Peach and apple trees are in blos- 
som. On the side of the hill in the dis- 
tance is an old-fashioned country church. 

Discovered: Love^ standing alone by the fence, looking 
off down the lane as the curtain rises. 
Birds singing in the trees in the distance. 
Love turns presently and sits on the 
rustic bench near the fence — sighs. Enter 
Hope. 

hope 
Good morning, Love, dear — isn't it a perfect morning! 

LOVE 

Yes, Hope, and I'm happy because the morning is so perfect. 
Youth is going away and I want him to have clear skies 
for his journey. It's lucky, isn't it, Hope, for him to 
start out for the Big World with sunshine all about him I 

HOPE 

Of course it's lucky. But are you really happy or just pre- 
tending? 

(9) 



10 EXPERIENCE 

LOVE 

Well, I don't suppose I can be really and truly happy when 
the one I am fondest of In all the world is going away— - 
but I won't let him see that I'm unhappy. 

HOPE 

That's the way to do. 

LOVE 

And while he's gone — well, I'll have you, won't I, Hope? 

HOPE 

Yes, Love, I'll be with you every minute. 

LOVE 

I wonder what it's like out there in the Big World ? 

HOPE 

Oh, It's a wonderful place. And Success will be waiting for 
him right around the first corner. 

LOVE 

I know that — I'm sure of it — but he'll meet other people, 
won't he? 

HOPE 

Of course — he'll meet a lot of people. 

LOVE 
Will he meet any girls, do you think? 

HOPE 
I suppose so. 

LOVE 

Pretty girls? 

HOPE 
Very likely J 



EXPERIENCE 11 

LOVE 

Do you think he'll meet any girl he'll like better than he 
likes me? 

HOPE 

Of course not. Aren*t you his first sweetheart? 

LOVE 

Yes, but a young man very seldom marries his first sweet- 
heart — didn't you know that? 

HOPE 

No. 

LOVE 

Well, it's true — I read it in a book. 

HOPE 

Don't you believe it. He'll come back to you and you'll live 
happily ever after. 

(Youth's whistle heard off.) 

LOVE 

There he is now! 

(Runs to gate — looks off — calls — " Woo-hoo!** — Answer- 
ing whistle heard off.) 

Hope, dear, of course I don't want you to go, but — I just 
happened to think of something I wanted to say to him. 

{Whistle heard off — nearer — LoVE answers '.''Woo-hoo.**) 

Of course, dear, you may stay right here if you want to, but 
I was thinking that 



12 EXPERIENCE 

HOPE 

{laughing) 
I understand perfectly. 

(Hope exits.) 

(Whistle heard quite close — Love answers it. Youth runs 
on, speaking as he enters the gate.) 

YOUTH 
Love, dear! 

LOVE 

{putting her arms around his neck) 
Youth! 

YOUTH 
{Embraces her — kisses her) 
Love, dear! You see, I'm away ahead of time — aren't you 
glad? And you're not going to be unhappy when I'm 
gone, are you, Love ? 

(Love tries hard to be brave and smiles up at him — 
shaking her head slowly in reply to his question.) 

You're smiling — isn't that splendid! Come, let's sit here 
together, for we have so many things to talk about. 

{They sit on bench — he kisses her.) 

Do you know what you are? — the dearest sweetheart in all 
the world! 

{Music — very faint and low — is heard from the church 
across the valley.) 



EXPERIENCE 13 

LOVE 

Listen ! 

(Pause — both listen to music in distance.) 

YOUTH 

It seems as though the little church were whispering good- 
bye to me. 

LOVE 

No, Youth, that's the way the spirit of your dear dead 
mother wishes you God-speed on your journey. 

{Pause — both listen until music dies away.) 
YOUTH 

Yes, dear; that's the way she always comes back to me — in 
the voice of music. 

{His tone changes.) 
I had almost forgotten! 

{Holds up left hand, showing ring on his little finger.) 
Look, Love ! the little ring I bought you to remember me by. 

{He gives her the ring.) 

LOVE 
{looking at it) 
To remember you by! Oh, Youth, Youth, dear! I don't 
need a ring for that. I'll remember you by the sun that 
rises and sets — I'll remember you by the breezes that 
whisper messages from you as they pass me by — I'll re- 
member you by the blue sky that bends above us, and 
the summer rain beating upon the roof will sing your 
name to me. Through all the daylight hours I'll walk 



14 EXPERIENCE 

with you through the Halls of Memory and when the 
night comes and the shadows deepen my spirit shall search 
for yours amidst the darkness. 

{She puts her arms around him and her head on his 
shoulder.) 

YOUTH 

Oh, Love, dear, I didn't mean that you'd forget me — I — Oh, 
please, Love — look at me and smile again. 
{She looks up and tries to smile.) 
Won't you wear it, just as a keepsake? 

LOVE 
{taking the ring and kissing it several times.) 
No, Youth, but I'm going to ask you to wear it — always! 
See! I've kissed it — now I'm going to put it on your 
finger and make a wish to keep evil away from you while 
you're away from me ! 

{She raises his hand to her lips and holds it there as she 
makes the wish.) 
There, Youth, dear; I've made my wish — and when you 
come back 

YOUTH 

And when I come back if I'm not able to put this little ring 
on your finger then you'll know me for an unworthy 
pilgrim whose soul is bruised and tarnished by contact 
with the world I'm setting out to conquer. 

LOVE 

Oh, but come back, even bruised or tarnished — come back. 
Youth — please don't forget me! 



EXPERIENCE 15 

YOUTH 
Forget you! — does the river forget to roll on to the sea? — 
do the stars forget to shine at night ? — do the birds forget 
to sing in Springtime? Forget you — never — never — ■ 
through pleasure or pain, through joy or sorrow, through 
weal or woe — and the good God lets me live ! 
(He embraces her,) 
(Hope enters from the cottage.) 

HOPE 

Remember, children, there must be no tears at parting!' 

YOUTH 

{Goes to Hope — kisses her on forehead) 
Hope, my best of sisters! 

(Ambition enters at Right — stands outside the fence.) 

AMBITION 

Come, Youth ; youVe tarried over long. You said the parting 
would be brief. 
(Ambition comes through the gate and into the scene.) 

YOUTH 

Yes, Ambition, I'm quite ready now. 

LOVE 

(runs to Youth — puts her arms around him passionately) 
Oh! I can't be brave — I can't! I can't! 

YOUTH 

Oh, Love, dear, you're crying — what's the matter ? 

LOVE 

He frightens me, I tell you. I don't want you to go out into 
the big world with him. 



16 EXPERIENCE 

YOUTH 
But Ambition is my friend — he's eager and anxious to do 
great things for me in the big world — things that can 
only be done by him. — I must go with him, Love !* 

LOVE 

I know — but I never saw him until now — and I'm fright- 
ened. Don't you understand — can't you see — Ambition 
is cold and cruel and heartless — and you'll be all alone 
with him. — Oh, don't go — ^Youth, just think — who will 
comfort you when you're weary? — who will bring ten- 
derness to your bedside when you're ill? — Plerse, Youth, 
don't go! 

YOUTH 

But, Love, I shall never be weary and I shall never be ill — 
I am Youth and ills and weariness can never vex me. Oh, 
Love, why do you stand between me and Ambition ? 

LOVE 

Because I hate him — he is taking you away from me. 

YOUTH 

But speak to him, please! 

LOVE 

No; I don't want to speak to him. We have nothing in 
common. Ambition is too selfish. 

AMBITION 
{with a sneer) 
It is quite impossible for me to be more selfish than Love. 



EXPERIENCE 17, 

YOUTH 

And I was so sure you'd be such good friends — I'm disap- 
pointed. Don't you remember that ever since we were 
little children we've roamed these hills together and 
dreamed our golden dreams! 

AMBITION 

Come on, Youth ; come on ! 

YOUTH 
And always in those dreams together we decided that I must 
go out into the Big World and get right into the thickest 
of the fight. 

LOVE 
Yes, but always I was to be by your side — always — till Am- 
bition came. Please let me go with you I 

AMBITION 

No, no; you would be in the way. {To Youth) Come on, 
Youth; come on! 

YOUTH 

He means. Love, that only he can help me climb those peri- 
lous heights. See, I have money to start with — Ambition 
says it's plenty to take me up and up to the very summit 
of glory. Soon I'll be back — laurel-crowned and rich — ■ 
and then just you and I together, Love! 

AMBITION 

Come on, Youth; there's time for Love later on. 



18 EXPERIENCE 

YOUTH 

Good-bye, dear Love! And, Hope, you'll be ever with her, 
w^on't you? 



I'll never leave her. 
God bless you! 
Come on, Youth! 



HOPE 



YOUTH 



AMBITION" 



YOUTH 

Look, Love, to the East — It Is the morning of life and every 
cloud is rosy w^lth promise. Good-bye! 

(Youth embraces Love — then gently sends her to HoPE. 
Love puts her arms around Hope.) 

LOVE 

( tearfully ) 
Oh, Hope I Hope ! you are all I have left now. 

YOUTH 

{turning to Ambition) 
Go on, Ambition, I'll follow you up the ladder of the skies 
and look down upon the world from your highest pin- 
nacle — go on — I follow! 

(Ambition goes out through the gate — ^Youth follows. 
Together they walk proudly away down the country 
lane. Love cries in Hope's arms.) 

the end of the episode. 



THE SECOND EPISODE 

IN THE STREET OF VACILLATION 

Description: An impressionistic view of the Big World. 

Discovered: Ambition is walking on the scene, followed 
by Youth. 

AMBITION 

Come on, Youth; you must follow closer; I have no time for 
those whose footsteps falter. 

YOUTH 

My footsteps haven't faltered — but I must look about me 
once In a while. 

(Experience enters from the Left. He stands looking 
at Youth with a kindly smile on his face.) 

The Big World Is very wonderful to me. In my fondest 
dreams it never seemed so grand and vast and awe-com- 
pelling. Its very bigness frightens me and in my heart 
there Is a feeling of vague unrest. All about me the 
people hurry — to and fro, they hurrj^ — endlessly, eternally 
hurrying, passing me by unnoticed, with never a smile of 
greeting, like shadows fading in a fog — their faces for- 
ever reflecting their inmost thoughts of money, money, 
money J And I, who am about to join this horde of 
hurrying humanity and become a shadow in a land of 

(19) 



20 EXPERIENCE 

shadows, feel in my soul a loneliness unspeakable. The 
Big World is very glorious and thrills me even as the 
stories of deeds of valor in the War of the Nations thrill 
me, but in this one weak moment my heart is yearning 
for the Hilltop and for the rustle of the wind through 
the sycamores. I feel like a coward as the battle begins; 
afraid of the noise and the fury of the fight — I want to 
turn back and '•un to the comforting arms of Love. — I 
want to see again the twilight deepen over the quiet 
valley and hear the last sweet call of the distant robin to 
its mate ; I want to be where there is no selfishness in the 
hearts of those who smile a blessing on me and where the 
only sorrows that we know are those that are sent to us 
by a kind and loving God ! 

AMBITION 

Come! come! you are homesick — that is all. The World is 
before you — make yourself its master. 

YOUTH 
Yes, yes, I know, it's gone now and I 



{Pulls himself together.) 
I'm all right. Go on, I follow! 

EXPERIENCE 

{taking Youth's hand and shaking it) 
So those are your impressions of the Big World! And well 
put, my boy, well put ! 

youth 
{coldly) 
Pardon me — I don't know you, sir! 



EXPERIENCE 21 

EXPERIENCE 

Experience is my name. 

YOUTH 

Still I don't know you. 

EXPERIENCE 

But you're going to — you're going to know me very well — 
we're going to be great pals, my boy ! 

YOUTH 

What are you? 

EXPERIENCE 

I am the champion school teacher of the world. 

AMBITION 

Come on, Youth — we're losing time. 

EXPERIENCE 

Who is your — Oh, of course, Ambition! I thought I recog- 
nized that voice J 

(Crosses to him.) 
What arc you up to now — you dear old rascal 1 

AMBITION 

Why do you delay us? — I am leading this boy on to fame 
and fortune. 

EXPERIENCE 

Delay you, God forbid! I shall journey with you if for no 
other reason than the exercise. 

YOUTH 

(to Experience) 
I don't like the way you speak to him. Ambition is my 
friend and you're a stranger. 



22 EXPERIENCE 

EXPERIENCE 

But in the end / shall be your best remembered friend. 

YOUTH 

I want you to know that I love and trust and believe in 
Ambition. 

EXPERIENCE 

{to Ambition) 
I, too, love you, though I know you to have such fickle 
qualities that friendship shudders at your name; I, too, 
trust you, though I know you to be the most accom- 
plished cheat and hypocrite of all the ages; and I, too, 
believe in you though I know you to be the most glorious 
liar that ever inflamed the mind of man. 

AMBITION 

This is extremely annoying Come, Youth, we must go. 

(Pleasure^ a beautiful woman, enters from the Left.) 

EXPERIENCE 

{seeing her — speaks to Youth) 
One moment! 

{Goes to Pleasure) 
Good morning, Pleasure! I'm delighted to see you — how 
are you ? 

pleasure 
A trifle weary this morning, dear friend. No sleep — and the 
wine too sweet — besides, those new dances — they are so 
acrobatic — they tire me dreadfully. 

{Indicating Youth.) 
But who is this? Why does he gaze so longingly in my 
direction ? — I hope he isn't flirting with me ! 



EXPERIENCE 23 

EXPERIENCE 

No, no; he doesn't know the meaning of the word. 

{To Youth.) 
Youth, come here; Pleasure, may I present Youth! 

PLEASURE 

Oh, this is a charming adventure. Youth, and innocent, 
Experience tells me! 

EXPERIENCE 

An incredible paradox in these days, isn't it? What with the 
Traffic in Souls in the Movies ; Houses of Bondage in the 
legitimate; sex hygiene in the public schools and eugen- 
ics in the parlor, innocence has fled, shame-faced, to the 
wilderness. 

PLEASURE 

Absolutely true. All the children of my acquaintance are 
middle-aged roues. 

{Enter, from Right, Opportunity^ a plain-faced woman, 
clad in sombre grey — she crosses Ambition — pauses — 
then turns to him.) 

EXPERIENCE 

{laughing) 
It's easy to see he's never met you before — the boy is fas- 
cinated. 

{The three laugh and chat together.) 

AMBITION 

{as Opportunity turns and faces him) 
My best friend — Opportunity ! 



24 EXPERIENCE 

OPPORTUNITY 

I must speak with Youth. I bring him good news. 

AMBITION 
He is yonder. Speak to him ! 

PLEASURE 

My dear Youth, you are splendid! — And this evening you 
will join me in the Primrose Path, won*t you? 

OPPORTUNITY 

Youth! 

YOUTH 

The Primrose Path — Oh! I'd love to. 

OPPORTUNITY 

Youth! 

PLEASURE 

I must show you off to my friends. 

EXPERIENCE 

Be careful how you praise Youth or they'll be your friends 
no longer. 

{The three laugh and chat in pantomime.) 

OPPORTUNITY 

Youth! 

EXPERIENCE 

{turns — sees Opportunity) 
Oh, Opportunity — how are you? You want to speak to 
Youth ? Pardon me \ 

(To Youth.) 
This lady wishes to speak with you. 



EXPERIENCE 25 

YOUTH 

Not now — wait till Pleasure finishes her story. 

(Youth and Pleasure chat in pantomime — Experi- 
ence turns to Opportunity — shrugs his shoulders — 
turns to Youth and Pleasure and joins their conver- 
sation in pantomime.) 

opportunity 
(turns slowly to Ambition) 
I have called Youth but he does not heed me. I can wait 
no longer. Farewell! 

(Opportunity walks off slowly at Right.) 

ambition 
Oh, the fool! He dallies there with Pleasure and lets Op- 
portunity leave him. 

{Loudly.) 
Youth! Youth! 

youth 
{rubbing his eyes — as though waking from a dream) 
Yes, yes, who called ? 

AMBITION 

I called you. 

YOUTH 

Oh, my dear friend ! 

{To Pleasure.) 
Forgive me, please — I must go ! 

pleasure 
{holding Youth) 
But to-night do not fail me! 



26 EXPERIENCE 

AMBITION 

Pleasure, let that boy alone! 

PLEASURE 

Oh, you old skin and bones — behave! 

{To Youth) 
Remember, to-night — the Primrose Path!' 

{Laughs invitingly.) 

AMBITION 

Come, Youth, the road to fame! 

{Points off at Right.) 

PLEASURE 

{insinuatingly) 
AMBITION 



The Primrose Path! 
The Road to Fame ! 



PLEASURE 

Remember, to-night, the Primrose Path! 

{Laughs and walks off at Left.) 

YOUTH 

T That way the Road to Fame — this way the Primrose Path 
of Pleasure. In her eyes I saw the promise of most won- 
derful delights and she says the path is strewn with 
thistle-down and the scent of wild flowers fills the air. 
And the other road is long and straight and narrow and 
there are brambles at either side to tear the flesh — Oh, 
God! what shall I do? What shall I do? 



EXPERIENCE 27 

EXPERIENCE 

{putting his arm around Youth's shoulder) 
My boy, you'll do just as countless millions have done before 
you — you'll reach out presently and grasp poor old blind 
Destiny by the hand and then you'll take whichever path 
he chances into ! 

THE END OF THE 'EPISODE, 



THE THIRD EPISODE 



IN THE PRIMROSE PATH 



Description: A golden Cabaret in that region known as 
the Haunts of Pleasure. Small tables on 
both sides at which men and women are 
dining. In the Center is an archway 
through which may be seen a wide path- 
way, bordered on each side by primroses, 
leading to a fountain. Through the large 
oval windows at the Right and Left of 
the room glimpses may be seen of a gar- 
den in the moonlight. 

Discovered: When Curtain rises the men and women are 
paired off at the eight tables as follows'. 

Women Men 

Song (Table No. 1 — Down Stage R.) Sport 

Beauty (Table No. 2 — Right) Style 

Slander (Table No. 3 — Right) Snob 

Frivolity (Table No. A — Right) Conceit 

Fashion (Table No. 1 — Down Stage L.) Blueblood 

Excitement (Table No. 2 — Left) Travel 

Deceit (Table No. 3— Left) Gush 

Pride (Table No. A — Left) Drivel 



{The lights in the room are subdued and on each table there 
are small electric lamps with red shades. The characters 

(28) 



EXPERIENCE 29 

are dining and chatting quietly. Presently when orchestra 
strikes up a '^one-step" knives and forks are dropped hur- 
riedly and all the characters get up and dance. When 
the dance is over the characters go back to the tables and 
resume dining. Pleasure appears, standing in the arch- 
way in the background.) 

PLEASURE 

My dear friends! 

{They all rise.) 

Oh, please! don't get up! Go right ahead with the Battle 
of the Bottle and the Bird. 

{Omnes, except GuSH and Drivel^ sit at tables and con- 
tinue dining.) 
I merely wanted to see if you were all happy! 

(Gush and Drivel go to Pleasure. Drivel keeps jab- 
bering away all the time, but nobody understands a word 
he says.) 

GUSH 

I want to tell you, Pleasure 

PLEASURE 

Yes, Gush — is everybody all right? All right, Drivel, Fm 
listening. 

DRIVEL 

{jabbering) 
Wonderful part about it is — temperature just about right — 
tried to dance Tango but I stepped on her foot — he was 
here early in the evening — never could understand — I 

told him I wore size 36 

{And so on ad lib during the scene.) 



30 EXPERIENCE 

GUSH 

I want to tell you, Pleasure, that the wine Is perfect — Cha- 
teau Viviana, '76 — drops of gold, that's what it is 

Oh, Drivel, shut up — let me tell her. 

(Drivel keeps on jabbering.) 

And the birds, just melt in your mouth — I don't know when 
I ever tasted anything so gastronomically correct and 
perfect. 

PLEASURE 

{to Drivel) 
Yes, Drivel, I hear you. Thank you, very much, Gush — • 
Yes, I'll dance with both of you later on. 

{She sends them back to their tables.) 
(Excitement and Travel leave their table and go to 
Pleasure.) 

excitement 
{very nervous — cant keep still a moment) 
Oh, Pleasure, dear, we're having a perfectly glorious time — - 
the wine is perfectly entrancing and the food is perfectly 
exquisite — and. Pleasure, I have a secret for you — a per- 
fectly astounding secret ! 

PLEASURE 

Calm yourself, my dear Excitement! {To Travel) What 
marvelous stories of adventure have you been telling Ex- 
citement, my dear Travel ? 

travel 
I was merely telling Excitement about a dance I saw done 
by naked savages on the banks of the Goola River, near 
Lake Nyanza in Africa. 



EXPERIENCE 31 

EXCITEMENT 

And I suggested — didn't I, Travel? — I suggested that Travel 
must explain publicly just how the naked savages dance 
and then we'll have a perfectly splendid time learning it. 

PLEASURE 

You'll find, my dear Excitement, that the naked savages 
dance exactly as we do — except that they are not con- 
scious of their nakedness. 

TRAVEL 

Thus obviating the necessity of a divorce court. 

(Pleasure laughs and crosses to Song^ who is at Right.) 

EXCITEMENT 

(to Travel^ as they go back to their table) 
Oh! I'm so disappointed! I'm just crazy to have somebody 
invent a new and perfectly outrageous dance 1 
(They sit at their table.) 

PLEASURE 

(to Song) 
Come, my dear Song, it's time you were adding your voice 
to the general happiness. 

SONG 

What shall I sing. Pleasure? — Something classical? 

SPORT 

Classical — nothing! Sing something we can move our feet 
to. When you're out in the Primrose Path with Pleasure 

you don't want any music that gives you time to think — - 

am I right, old dear? 

PLEASURE 

You're quite right, Sport ! 



32 EXPERIENCE 

SPORT 

You know that classical stuff is all right on the pianola be- 
cause you can get up and leave the room. But for me, 
something with the **pep" in it — something smooth with 
the little old ginger behind it. My brain is all wrapped 
up in dancing and I don't want anybody to take the cover 
off. 

PLEASURE 

Come, Song — something lively!' 

THE MODERN SONG 

In the Primrose Path of Pleasure 

The songs of an ancient day 
With their grace and stately measure 

Are taboo and passe. 
And no echo of them lingers 

In the modern cabaret 
Where the singers snap their fingers 

And warble in this way: 

refrain: 
Just call me baby — 
Or a beautiful doll! 

(She's a doll! She's a doll!) 
If you do then maybe 
I will answer your call! 
(She's a beauty — 
She's a cutey — 

With her baby eyes of blue!) 
Say, be 



EXPERIENCE Z3 

In a hurry — that's all! 
Just call me baby 
Or a beautiful doll! 

(Do you think she could be true?) 

SECOND verse: 
In days gone by and olden 

The songs they used to hear 
Had music sweet and golden 

And Mem'ry holds them dear; 
But nowadays it's different 

And sad it is to state 
That music is not music 

Unless you syncopate. 

REFRAIN : 

Just call me baby — 
Or a beautiful doll! 

(She's a doll! She's a doll!) 
If you do then maybe 
I will answer your call! 
(She's a beauty — 
She's a cutey — 

With her baby eyes of blue!y 
Say, be 
In a hurry — that's all! 
Just call me baby 
Or a beautiful doll! 

(Do you think she could be true?) 

{After the dance Omnes go to tables.) 



34 EXPERIENCE 

PLEASURE 

{to Song — after the dance) 
Thank you so much, Song. The selection was perfect — so 

fresh and modern. 
(Youth and Experience enter through archway, both very 

gay and happy.) 

YOUTH 
Pleasure ! 

PLEASURE 
{greeting him) 
Youth ! then you are here — I'm so glad ! Welcome, Experi- 
ence ! 

EXPERIENCE 

Thank you, Pleasure! 

YOUTH 

And, Pleasure, let me thank you ! It's glorious. The music 
and laughter! and the air is sweet with the far faint 
odor of dying rose-leaves ! Everywhere there are women's 
eyes that sparkle like the moonlight on a silent river! 
Everywhere there are white arms that beckon me to lips 
incarnadine with welcome. Oh! Pleasure, how wonder- 
ful you are to grant me all this. 

(He turns to EXPERIENCE.) 

Isn't she wonderful, Experience? 

EXPERIENCE 

Wonderful, indeed, in that she has no knowledge of the 
pain that follows ever in her footsteps. 

PLEASURE 

Why voice unpleasant thoughts. Experience? Pain and I 
have been enemies since the beginnig of things. 



EXPERIENCE 35 

(To Youth.) 
Are you really glad you're here — in the Primrose Path? 

YOUTH 

Glad! My heart is beating with delight! 

PLEASURE 

Tell me, now — what do you think of me? 

YOUTH 

I think you are the end of the rainbow and all the treasures 
of the world are in your keeping. I think you are the 
sunshine of a cloudless day and all the flowers of the 
earth look up at you and worship. 

PLEASURE 

Oh, Youth ! Youth ! the poetry of Youth ! 

EXPERIENCE 

Youth is the store-house of all poetry. He looks upon the 
world as a garden of roses and dreams never of winter 
nor decay. 

YOUTH 

{to Experience) 
But you, yourself, told me I'd find her fascinating. Come 
now, what do you think of her? 

PLEASURE 

Oh, don't ask him — please! 

EXPERIENCE 

In the light of ages I think — 

{bows to Pleasure) 
— saving your presence, dear lady! — I think Pleasure is 
but the stain of last night's wine spilled upon the table- 
cloth. She is but a snowflake falling into the ocean* 



36 EXPERIENCE 

Pleasure, my boy, Is the last faint crimson flush which 
a setting sun has left to die alone in a cold gray sky. 

YOUTH 

But I don't understand. She looks so beautiful and so in- 
nocent. 

EXPERIENCE 

God made Pleasure innocent but Mankind has made her 
wise. 

PLEASURE 

( laughs ) 
True, possibly, but Youth must forever pursue me even if 

Experience proves me a will o' the wisp. Come, Youth, 

you must meet my friends. 

(She takes him to the table down stage at Left where 

Blueblood and Fashion are sitting — Experience foU 

lows.) 
Fashion, may I present my friend, Youth! 

YOUTH 

Fashion — how do you do! 

FASHION 

Oh, yes, of course — Youth ; awfully glad to see you. Pardon 
me, won't you, for not shaking hands — but I'm afraid 
my dress will fall off. 

YOUTH 

Oh, I feel so relieved. I thought it had fallen ofif. 

FASHION 

Have you noticed my earrings — absolutely new — imported 
from Algiers. 



EXPERIENCE 37 

YOUTH 

Are they really earrings? 

FASHION 

What did you think they were? 

YOUTH 

I thought they were alarm clocks to tell you when the styles 
change. 

FASHION 

Oh, no; we women don't need an alarm clock to awaken 
us to the importance of dressing stylishly. Have you 
noticed how my hair is done up — an imitation of an 
Esquimaux woman — don't you like it? 

YOUTH 

Yes, I like it horribly. 

FASHION 

I just love to find a new excuse to make myself uncomfort- 
able. 

(Goes back to her table.) 

YOUTH 

Have you ever tried putting pebbles in your shoes? 

(To Experience — ingenuously.) 
Isn't she great? 

PLEASURE 

{to Youth) 
And this, my dear Youth, is my friend, Blueblood. 

YOUTH 

Pleased to know you. 

BLUEBLOOD 

Of course you have a pedigree? 



38 EXPERIENCE 

YOUTH 

(to Experience) 
Have I? 

EXPERIENCE 

If you haven't you can buy one. 

BLUEBLOOD 

You see, my people came over here v^ith the Pilgrim Fathers. 
One of my ancestors was the first to put his foot on 
Plymouth Rock. 

YOUTH 

Is that so! Well, four of my ancestors carried the Rock 
into Plymouth and put it where your ancestor could step 
on it — so you see, we must be related through our an- 
cestors. 

{To Experience.) 

Was that all right? 

EXPERIENCE 

Yes, but our friend Blueblood doesn't understand. He's 
using some of the Rock for his head. 

PLEASURE 

{offering Youth a wine glass — temptingly) 
A glass of wine, Youth! 

youth 

Wine! 

(Looks at it — wavers — draws nearer — then goes back 
to Experience.) 
What do you say. Experience? 

EXPERIENCE 

You are Youth! and temptation is ever at your elbow. 




Third Episode 
Pleasure: "Come, Youth, a glass of wine — you'll like it." 

Page 38 



EXPERIENCE 39 

YOUTH 

Temptation — nonsense! I'm thirsty, that's all. 

{Takes wine glass from Pleasure — tastes it.) 
Great ! 

PLEASURE 

Drink it, Youth — you'll like it. 

YOUTH 
(drinks wine) 
Fine!' This is the stuff they write songs about, isn't it? — 
you know, *'Oh, sparkling wine — divine!" 

(Laugfhs.) 
That's easy to understand because it tastes just like liquid 
music. May I have another glass? 

PLEASURE 

Certainly. 

YOUTH 

(to Experience) 
Isn't it beyond words how that stuff takes hold of you and 
makes you want to sing and dance and laugh ? 

EXPERIENCE 

Yes, and there's a lot of laughter going on in hell right now, 
my boy! 

YOUTH 

Oh, tush 1 

PLEASURE 
(offering wine) 
Here, Youth! Drink deep! 

YOUTH 
(taking glass) 
You're mighty sweet and good to me, Pleasure. 



40 



EXPERIENCE 



(Drinks.) 
The poets have made no false statements — this is the real 
thing. 

{Drinks.) 
It's an awful hit with me — I'm going to be crazy about this 
stuff. 

STYLE 

{to Pleasure) 
Pardon me! I'd like to speak to Youth. 

PLEASURE 

{to Youth) 
Oh, Youth ! I want you to meet my friend, Style ! 



YOUTH 



How do you do, Style! 



STYLE 

Hello! P.-^rdon me, but your necktie! It's just a sixteenth 
of an inch too narrow! 



Oh! is that so! 



YOUTH 



STYLE 



And your coat — at the waist line — a little loose — just a 
trifle ! — ^The trousers too long — notice mine ! And they're 
not wearing that style of collar. 



YOUTH 



Gee whiz! is that so! 



STYLE 

{gives card) 
My card — I'll call for you to-morrow — take you to my 

tailor's. 



EXPERIENCE 41 

YOUTH 
{giving his card) 
Will you, really! That's good of you, old top! 

STYLE 

You must pay more for your clothes — see you to-morrow. 

YOUTH 

(to Pleasure) 
Important, isn't he? 

PLEASURE 

Style is always important with us, my dear Youth! Come, 
you must meet all my friends. 

{They go to table at Left where Excitement and 
Travel are sitting — Pleasure introduces Youth in 
pantomime.) 

experience 
{to Frivolity) 
You look tired. Frivolity — what's the matter? 

frivolity 
I'm not tired — I'm worried — I don't get enough dancing — • 
the daylight arrives so early — it certainly does interfere 
with my night life. Now look at Conceit — he never 
worries about anything. 

CONCEIT 

Why should I? I am handsome and rich. I have the most 
perfect manners — the women adore me — I know every- 
thing there is to know — I am Nature's most perfect speci- 
men. 

EXPERIENCE 

You should worry, indeed! 

(Experience talks to Slander and Snob at Right. As 



42 EXPERIENCE 

Pleasure and Youth turn from the table where they 
have been talking in pantomime with Excitement and 
Travel^ Snob goes to them.) 

PLEASURE 

Oh, Snob — just a moment — I want you to meet my friend, 
Youth. 

YOUTH 
{warmly) 
Glad to know you! 

(Experience goes to Youth.) 

SNOB 

{coldly) 
How do you do! 

{To Pleasure.) 
In our set — permanently? 

pleasure 
I hope so. 

SNOB 
Family or money? 

pleasure 
A little of both. 

YOUTH 

What does he mean? 

SNOB 

I shall have to reserve my consideration until I am com- 
pletely satisfied he is eligible. 

{Looks at Youth coldly and walks away,) 

YOUTH 

{hotly) 
Well, the nerve of that shrimp — if I had him outside I'd 
punch his head off. 



EXPERIENCE 43 

EXPERIENCE 

Easy, Youth, easy! In the Primrose Path a shrimp of that 
kind is considered a delicacy. 

(Pleasure in the meantime has gone up to table at Left 
and brings Pride down with her.) 

PLEASURE 

Pride — let me present Youth! 

YOUTH 

Charmed, I'm sure. 

(Pleasure goes to table at Left,) 

pride 
{with her head high in the air) 
Thank you! 

{Goes back haughtily to her table.) 
youth 
{to Experience) 
She's somewhat impressed with herself, isn't she? 

experience 
Pride walks in majesty but she's been known to stub her toe. 

pleasure 
{who has brought Beauty forward) 
Beauty, dear, you must know my friend, Youth !' 

BEAUTY 
{smiling) 
We should be good friends. 

YOUTH 
{smiling) 
Of course we should! 

{To Experience) 
Isn't she lovely ? 



44 EXPERIENCE 

(Deceit steps in between Youth and Beauty.) 

DECEIT 

{to Beauty) 
How charming you look to-day, Beauty! Your eyes are 
wonderful and your cheeks like roses! 

beauty 
{demurely) 
Oh, thank you, Deceit. 

DECEIT 

{to Youth) 
Look closely — there are crowsfeet about her eyes — and the 
roses in her cheeks are from the drug-store. 
{Laughs and goes to her table,) 

YOUTH 

{to Experience) 
Who is she? 

experience 
Deceit — strange you've never met her before. 

(Pleasure brings Slander down to Youth.) 

PLEASURE 

Slander — this Is Youth. I don't know whether he'll listen 
to you or not. 

(Slander takes Youth aside,) 

SLANDER 

Pardon me. Youth, but I noticed you talking with Beauty. 
Now don't say I told you, but don't you think it strange ! 
— she was seen at a road-house dining with a married 
man — don't say I told you! 
{Holds up her finger warningly and walks away.) 



EXPERIENCE 45 

YOUTH 

{goes to Experience) 
I don't believe it — did you hear what that woman said about 
Beauty ? 

EXPERIENCE 

The wise man is deaf when Slander talks. 

YOUTH 

Who is she? 

EXPERIENCE 

She is the snake in Society's garden and her poison fangs are 
forever fatal to the innocent. 

(He turns and finds YouTH with bowed head looking at 
the ring on his little finger.) 

But come, my boy, you are letting Beauty stand there neglect- 
ed. What's the matter? 

YOUTH 

I was wondering if it's all worth while. You see. Experi- 
ence, there is so much evil interwoven with the good that 
I'm confused. And when I looked at this ring I thought 
of one who 

( The dance music starts — Beauty calls Youth and they 
dance. Omnes dance as before. Experience and Pleas- 
ure dance together, and finally all dance off the scene. 
Pleasure returns immediately and sits smiling at R. 
Wealth walks in and stands looking gloomily at Pleas- 
ure. She turns presently and sees him.) 

pleasure 

{going to Wealth) 
Wealth — where have you been all the evening? 

WEALTH 

I've been in the background. Say, Pleasure, what's the mat- 
ter with you lately ? 



46 EXPERIENCE 

PLEASURE 

I don't know, Wealth — I answer your every call very 
promptly. 

WEALTH 

No, no, it isn't that. There's something wrong. I look at 
you and you seem to be there but when I take you in my 
arms you're a shadow — a shadow. The Primrose Path 
is there — the Path I've walked for years — do you think 
it's the same path? 

PLEASURE 

Certainly, Wealth. 

WEALTH 

Well, it isn't — not to me. I used to walk there on the petals 
of rare orchids — now I feel flinty rocks beneath my feet 
— and those flowers, they're withering — fading — day by 
day I've watched them fade. I've poured gold — molten 
gold around their roots but they keep on fading — I won- 
der what is the matter with me? 

(Wealth sits despondently at Right. The dance music 
swells and Youth dances on and into the scene, followed 
by Experience — they dance about gayly.) 

YOUTH 

{to Pleasure) 
Everything you promised me is here — it's wonderful ! 

EXPERIENCE 

Youth, I want you to meet my friend, Wealth ! 

YOUTH 

{shaking hands with Wealth) 
Glad to know you ! 

wealth 
Youth ! Oh ! Yes, yes, of course ; I was 



(Youth leaves him — goes to Pleasure) 



EXPERIENCE 47 

Come back, Youth! Now I know — I understand — it was 
with the feet of youth I walked on the petals of rare 
orchids — it was through the eyes of youth I saw the 
flowers bloom — it was with the arms of youth I found 
Pleasure a substance — I want to be like him again — I 
want youth — I'll give all I have for one hour of youth's 
enthusiasm. Tell me, Experience, tell me, can it be 
done? 

EXPERIENCE 

Can you, with your money, pick one star from the canopy of 
Heaven and set it in some new position? 

WEALTH 

No, no!' 

EXPERIENCE 

Can you, with the power of your gold, stop the flight of the 
world and roll it backward, backward? 

WEALTH 

No, no!' 

EXPERIENCE 

Then these two tasks are easier far than to bring back for 
even an hour your squandered youth ! 

(Wealth drops despondently in a bench at Right — sits with 
bowed head. Ambition appears suddenly up stage at 
Left — he is listless and speaks with a weak voice,) 

ambition 

{weakly) 
Youth! 

EXPERIENCE 

{seeing him — goes quickly to Youth) 
He's calling you! 

YOUTH 

Who's calling me? 



48 EXPERIENCE 

EXPERIENCE 

Listen, don't you hear hi'm? 

AMBITION" 

( weakly ) 
Youth! 

YOUTH 

I don't hear anything. 

{To Pleasure — eagerly.) 
Tell me again about the wonderful delights in store for me. 
(Ambition^ with bowed head and faltering feetj walks off 
slowly.) 

PLEASURE 

In my domain delights must come unheralded — for Surprise 
is Pleasure's dearest friend. 

( There is a subdued commotion and groans are heard off 
at Left.) 
What's the matter? 

EXPERIENCE 

I'll see! 

(Experience hurries off at Left.) 

YOUTH 

He's a great companion — Experience! — I've enjoyed every 
minute I've been with him — and I need him. 

WEALTH 

{looking up) 
Listen to all he tries to teach you for the price he charges is 
a heavy one. 

(Experience returns.) 

PLEASURE 

What was the matter? 

EXPERIENCE 

Ambition is dead. 



EXPERIENCE 49 

YOUTH 
{lightly) 
Oh ! IS that so ? — too bad ! 

{Raises wine glass.) 
To Pleasure — for every bubble whispers your name as it 
expires. 

EXPERIENCE 

{raising glass) 
To Pleasure! 

{The three drink and laugh.) 

PLEASURE 

Why are you so gloomy, Wealth? 

WEALTH 
{rising) 
Ghosts — ghosts — all around me — ghosts! The ghost of my 
own youth — the ghost of Ambition — I'm getting old — 

that's it! And my money 

{laughs) 
— my money can't down the ghosts of the things that 
should have been. 

EXPERIENCE 

Brace up, old boy — you're getting fancifull 

(Intoxication, a girl, enters — she is wild-eyed — her hair 
is touseled and she is smiling inanely.) 

INTOXICATION 

Hello, all of you, whoever you are — ^whee! I'm having the 
time of my life! 

EXPERIENCE 
{greeting her) 
Intoxication — glad to see you, old girl! You arrived at the 
right moment. Pleasure was becoming just a bit jaded. 
I want to present my friend, Youth! 



50 EXPERIENCE 

INTOXICATION 

Pleased to meet you! 

YOUTH 

I'm glad to see you — I like your style — if you're a friend of 
my friend, Experience, I'm going to like you — sit down 
here with me! 

(Youth and Intoxication sit at table.) 

EXPERIENCE 

Come over here, Wealth, and join us. Here's a lady who 
can drive those ghosts of yours away. 

wealth 
Who's that? Oh! Intoxication — I know her well. I've 
known her ever since I was that high. She's all right at 
night but she's damned poor company in the morning. 

(Wealth sits at table with Youth and Intoxication — 
Omnes drink wine.) 

EXPERIENCE 

Come on, pour out some more of that stuff that made Omar 
Khayaam a poet. 

INTOXICATION 

Sure, boys, turn the grape loose — turn it loose. 

YOUTH 

(to Pleasure^ who is standing near him) 
Say! this is life, isn't it, eh? 

pleasure 

It's my life. 

experience 
{raising glass) 
Here's to t'^-night! To-morrow hasn't happened yet. 

{Omnes drink and laugh — all show the effects of liquor 
since Intoxication joined them.) 



EXPERIENCE 5t 

WEALTH 

That's right — to-morrow hasn't happened yet 

(Drinks.) 

That's the philosophy for mel 

(Gets up — shows effects of liquor.) 

You're a fine girl, Intoxication — you chase all the ghosts 
away — ^you sure do! 

{Begins to throw money away.) 

Open more wine — a lot of it — enough to drown all the ghosts- 
in the world. 

YOUTH 
{imitating WEALTH — throws his money away) 
That's the idea — wine — women — song — old Wealth is all 
right, isn't he? I want to do just like he does. 

{Throws money away.) 

INTOXICATION 

{pulling him to table) 
Sit down with me — ^your wine's getting warm. 

WEALTH 

Come on, Pleasure — I'm my old self again ! Let's go gliding 
down the Primrose Path! 

PLEASURE 

I'm right with you, Wealth — away we go! 

{Loud music — Wealth and Pleasure dance off. Ex- 
perience, Intoxication and Youth at the table — 
drinking.) 

intoxication 
{to Youth) 
Are you with me? 



52 EXPERIENCE 

YOUTH 
I'm with you, all right! I'm going to devote myself exclu- 
sively to you! 

(Drinks.) 

INTOXICATION 

(to Experience) 
How about you — you don't seem to reflect my genial pres- 
ence as much as he does. 

experience 
No ; I've met you of tener — you see, you're a stranger to him. 

(Passion, a very beautiful and alluring creature, enters 
through the archway and glides down stage in a snake- 
like manner — she stands gazing at YoUTH — he looks up 
presently and sees her,) 

YOUTH 
Look! look! who is she? 

EXPERIENCE 

Passion ! 

(To Passion.) 

What do you want? 

passion 
I want him! 

(Her eyes fixed on Youth.) 

youth 

Look at her eyes — look! Good God! can you see — she 
wants me, I tell you. 



EXPERIENCE 53 

(To Intoxication.) 
Take your hands off me — you're holding me back. 

PASSION 

{gazing at Youth) 
Youth, I want you, with all my burning heart, I want you! 

youth 

{to Experience) 
Tell me, tell me — who is she? 

EXPERIENCE 

She is Passion — the High Commissioner from his Satanic 
Majesty. 

PASSION 

Come to me, Youth — my arms are aching to enfold you. 

YOUTH 

Listen! there's music all about her — don't you hear it? 

EXPERIENCE 

Yes, the poisonous melody that the siren serpent uses in her 
dance of death. 

PASSION 

Oh, Youth, Youth, my very soul is on fire — and I want to 
smother you in the flames of joy. 

YOUTH 

She's calling me — and I want her. 

{To Intoxication.) 
Take your damned hands ofE me! 



54 EXPERIENCE 

(He struggles away from Intoxication^ who follows 
him — he staggers to Passion.) 

I must have her — she was meant for me since the beginning 
of the world 

(Passion grabs his right hand — the one on which is the 
ring — and starts to kiss it — as she does so she speaks.) 

PASSION 

I love you, Youth I 

YOUTH 

(takes his hand away from her mouth — looks drunkenly at 

the ring) 

Love! Love! Walt a minute! She put that ring there to 
keep evil awa)^ — Wait a minute! — there's something 
wrong — somebody is trying to whisper to me — wait, wait 
— it's far away — there's a lane — a country lane — and 
she's standing there — waiting — yes, yes, she's crying — I 
don't want to see her cry. 

(To Intoxication.) 
I'm going with you, understand — going with you 



(Intoxication helps him back to the table — both drop in 
chairs. ) 

Help me, will you? — Help me to stop seeing her cry. — I 
don't want to see her cry — hurts me in my heart 

(To Intoxication.) 
Put your hand in front of my eyes so I can*t see that other 
woman — can't see — she's crying — hurts — other woman — 
can't 

(Drops his head drunkenly on table. INTOXICATION drops 
hers at the same time.) 



EXPERIENCE 55 

PASSION 
{intensely) 
Let him go to his drunken sleep and may every curse that 
my burning body can suggest follow him through the 
dark corridors of his dreams — bah ! he isn't worth while. 

EXPERIENCE 

He is worth while, because he had the courage to resist the 
queen regent of Hell. Of two evils he has chosen — the 
lesser ! 

THE END OF THE EPISODE. 

INTERVAL. 



THE FOURTH EPISODE. 



IN THE CORRIDORS OF CHANCE. 

Description : A room in a modem Gambling Palace. 
Doors at Right and at Left. Through 
an archway in back is seen part of another 
room where men and women are gam- 
bling. A roulette table in the Center of 
the stage with the wheel in the middle 
of the table and the lay-out of numbers on 
each side of the wheel. The furnishings 
and furniture are rich and in good taste. 

Discovered: When curtain rises there are two '^dealers'* 
at the roulette table in C. — one at Right 
of the wheel — the other at the Left. 
There are eight characters at the table, 
as follows'. At the end of the table at 
stage Left is Despair, pale-faced and 
with disordered hair. He is playing des- 
perately and losing. Between Despair 
and the Dealer^ facing the audience, is 
Stupid^ red-faced and drunk, scattering 
his bets aimlessly and winning. Two 
other men are at the Left end of the table 
zvith their backs to the audience. These 
are System and Superstition, playing 
with characteristic actions. At the Right 
end of the table is Venture, and stand- 
ing near him is Caution, who is nervous 
and anxiour. Between Venture and 
the Dealer at Right is Good Nature, 
losing and laughing. At the Right end 
of the table with their backs to the audi- 
ence are two college boys, Careless and 

(56) 



EXPERIENCE 57 

Thoughtless. Chance^ the proprie- 
tor, moves about from one room to the 
other. The waiter, a mulatto, in Tux- 
edo, moves about, bringing drinks, etc. 
Through the archway in another room 
men and women may be seen, gambling 
feverishly over another table. 

{As the Curtain rises the Dealer at Right is just call- 
ing the number.) 

DEALER AT RIGHT 

Seventeen — black in the odd — middle colmun — second dozen ! 

(Dealer at Right pays Venture. Good Nature loses, 

with a laugh. Careless and Thoughtless lose. Deal- 

at Left pays Stupid and Superstition. Despair and 

System lose.) 

GOOD nature 
Stung again ! 

{Laughs and looks over his checks — proceeds to bet again,} 

DEALER AT LEFT 

Make your bets, gentlemen! 

caution 
We've w^on enough now, Venture; come on, let's go home! 

VENTURE 

Just one more bet, Caution — this is the last — honestly! 

{Places checks.) 

SYSTEM 

{looking at small book which he takes from his pocket) 
According to my system, red should have won that time — - 
can't understand it. 

STUPID 
{drunkenly^ 
That's the idea — set and cop ! 



58 EXPERIENCE 

{To Despair.) 
What's the matter with you, Despair? You haven't won a 
nickle since you sat in — look at me — I just spread 'em all 
around and set and cop — that's me — set and cop !' 
{Spreads more checks.) 

DESPAIR 

It's hopeless — I know it — and I want to win — God! how I 
want to win! 

{Places another bet. Dealer spins the ball — all watch it 
intently till it drops in a number.) 

dealer at right 

{calling) 
Sixteen — red in the even — first column — second dozen! 
{Both dealers take in losing checks. Despair^ System, 
Good Nature^ Thoughtless and Careless lose — 
others win.) 

GOOD nature 
{laughing) 
Blast me if I didn't lose again — ha, ha, ha, ha! 

DESPAIR 

Oh, why, why, can't it break for me — just once! 

STUPID 
{drunkenly) 
It don't break for you, Despair, because you don't under- 
stand the game — ^you gotta play it blind — see! — get full 
of booze — and then you don't care whether you win or 
lose and you just set and cop. Fortune loves a drunken 
man — get me, Despair! — Come on, let's tease a highball 
— what d'ye say, Despair? Get some benzine under your 
belt and set and cop! 

DESPAIR 

No, no, Stupid — I don't want to drink — I want to win — just 
a little — I must win ! 



EXPERIENCE 59 

DEALER AT LEFT 

Make your bets, gentlemen ! 

CAUTION 

You'd better stop now, Venture — you've won enough; let's 
go home. 

VENTURE 

This one Is the last — on the level It Is, Caution! 

(Venture places a bet. The Dealer spins the ball — all 
watch intently until it stops.) 

dealer at right 
( calling ) 
Thirty-six in the Red. 

(Venture loses and Caution is very much upset. Su- 
perstition loses. System wins and is elated. Thought- 
less and Careless win and make a fuss about it. Good 
Nature wins. Stupid wins. Despair wins.) 

caution 
{to Venture) 
See, you've lost! I told you not to play any more. — Come 
now, you must cash in — we're going home. 

(Youth and Experience enter in back and are seen 
watching the play at the table in the other room.) 

venture 

Oh ! all right ; but I'll win the next time. 

(Venture *^ cashes in* and when he gets his money Cau- 
tion takes him by the arm and they go out.) 

SYSTEM 
{elated) 
I knew my system couldn't fall. — Do you see, Superstition, 
do you see, I've won ! 



60 EXPERIENCE 

SUPERSTITION" 

Yes, System, youVe won two bets out of twenty — and you 
made me lose that last one! 

SYSTEM 

Why, Superstition, how did I make you lose? 

SUPERSTITION 

Because you touched my arm just as I was going to bet. 
Keep away from me! 

STUPID 
{drunkenly) 
What's the matter with you. Despair? — You won that, didn't 
you ? — Didn't you set and cop ? 

DESPAIR 

I won that, yes! when I had but a few checks left — I lose 
so much and win so little. 

STUPID 

Oh, that's all right — get a good, fancy little bun on you and 
you'll set and cop every time — see ! look at me ! — Fortune 
loves a drunken man! 

DEALER AT LEFT 

Make your bets, gentlemen ! 

(Enter YouTH and EXPERIENCE — Chance meets them — 
the waiter takes their hats and overcoats.) 

CHANCE 

{to Experience) 
How do you do ? Glad to see you ! 

{They shake hands.) 

experience 
Chance, I'm pleased to see you again. Youth! this is the 
party you wanted to meet — my friend, Chance! 



EXPERIENCE 61 

YOUTH 

{shaking hands) 
That's right; I came out looking for you to-night. You 
know I've spent a lot of money in the Primrose Path so 
I thought I'd drop in here and get some of it back — you 
don't mind, do you? 

CHANCE 

This is the place to get it, Youth. Go as far as you like. 
{In the meantime, those at the table have placed their bets 
and the ball is spinning. Youth, Experience and 
Chance look on.) 

DEALER AT RIGHT 

{when ball stops) 
Thirty-three in the Black! 

(Stupid wins — Superstition wins — Good Nature 
loses — Despair loses — System loses — Careless and 
Thoughtless lose.) 

good nature 
String me high if I didn't miss it again ! 

{Laughs.) 

stupid 
{gathering his checks together drunkenly) 
Set and cop, eh? 

{Laughs.) 
I'm going to have a little mercy — that's what I'm going to 
do — have a little mercy! — I ain't going to win all the 
money in the world and put this place on the bum — 
here! I'm cashin' in — see! gi'me a lot of money! 

{To Despair.) 

You see ! you poor old boob — you. Despair — you see ! — if you 

had a skin-full of red-eye you'd set and cop, understand? 

{Gets his money.) 

I'm going to beat it now and open a new bank of England. 



62 EXPERIENCE 

(Sees Chance.) 
Much obliged, old friend Chance! I'm taking away a fat 
little bundle of your gate receipts, but you don't care, do 
you? Good-night, everybody! 

(Laughs.) 

Say ! Fortune loves a drunken man, eh ? 

(Exits through archway. Chance follows and is seen 
talking to Stupid near the other table. Presently Stupid 
sits at the table in the other room and Chance returns 
to front room.) 

DEALER AT LEFT 

Make your bets, gentlemen! 

YOUTH 

(as Stupid goes out) 
That fellow is lucky — I'm going to take his seat. 

(Youth sits in the chair which Stupid has just vacated. 
He takes out a roll of money — gives it to the Dealer.) 
There's my entire bank roll — give me some checks, please! 

(Turns to Experience^ who stands behind him.) 
Watch me! I feel that I'm going to win a lot of money. 

experience 
You're very foolish to feel that way in a gambling house. 
( The ball spins and when it drops the Dealer calls the 
number.) 

DEALER AT RIGHT 

Nine in the Red! 

(Youth wins — all the others lose.) 

YOUTH 

(elated — to Experience) 
Did you see that? — I won the very first bet! I'll be on 
Easy Street in a few minutes. 



EXPERIENCE 6Z 

EXPERIENCE 

It takes more than a few minutes to get to Easy Street. 
The railroad service is very poor. 

SUPERSTITION" 

{to Dealer) 
Cash those for me! Fm through. I hate to sit next to a 
jinx. 

SYSTEM 
{looking at his book) 
That's the fourth time to-night that number came up — I 
don't understand it! 

SUPERSTITION 

{to System) 
You made me lose that last bet. 

system 
I did! How? 

superstition 
Why, you put your foot on my chair and I lose 200 cold — 
that's what you did — put your foot on my chair. 
{Takes his money and goes. The ball rolls again and the 
Dealer calls the number when it stops.) 

DEALER AT RIGHT 

Twenty-seven in the Red. 

(Youth wins — the others lose,) 

YOUTH 

{to Experience) 
See ! What did I tell you ? This a lucky night for me. 

experience 
All right; if you feel that way just close your eyes and pray 
for daylight. 



64 EXPERIENCE 

(Chance is standing near the two college boys. Careless 
and Thoughtless, watching them.) 

CARELESS 

rm through, Thoughtless — that's my last stack! 

THOUGHTLESS 

Same here — Gee whiz! what a run of bad luck. I'm out 
fifteen dollars! 

CARELESS 

I only had ten to start with — now I haven't even carfare. 

THOUGHTLESS 

Gee ! and it's a long walk home. 

(Chance takes a blue chip from his pocket — deliberately 
drops it on the floor — then stoops and picks it up.) 

chance 
(to Careless) 
Pardon me, but you dropped a blue check. 

careless 

Oh ! is that so ! Gee ! that's lucky ! 

(To Dealer.) 
Cash that, will you! 

(The Dealer does so.) 
Come on, Thoughtless, we won't have to walk home. 

thoughtless 
Say! Careless, that's the luckiest play you made to-night 
when you dropped that chip on the floor. 
(Careless and Thoughtless exeunt through archway 
and off — Chance watches them with an amused smile.) 

DEALER AT LEFT 

Make your bets, gentlemen ! 

(Ball spins again and Dealer calls it when it stops,) 



EXPERIENCE 65 

DEALER AT RIGHT 

Nine in the Red! 
(Youth and Good Nature win — Despair and System 
lose.) 

YOUTH 

{excitedly, to Experience) 
There it is again, see ! Why, nothing can stop me — nothing. 

experience 
Nothing — except possibly a losing streak. 

GOOD NATURE 

{laughs) 
Every time I win I bet five — every time I lose I bet a hun- 
dred — luck certanly is funny! 

{Laughs.) 

SYSTEM 

{getting up) 

According to my book black should have won. Can't under- 
stand it. 
(System starts for the other room — Chance stops him.) 

CHANCE 

Any luck to-night, System? 

SYSTEM 

No, none at all. I played my little book and lose a thousand. 
{Hurries out through archway and off. In the meantime, 
the ball is rolling again and when it stops the Dealer 
calls the number.) 

DEALER AT RIGHT 
Thirty-four in the Red. 

YOUTH 

{to Experience) 
Say ! how long has this been going on here ? If I had known 



66 EXPERIENCE 

this bank was open every night I'd have been here long 
ago. 

EXPERIENCE 

Save your praise of this bank till you know it better. This 
is a financial institution where they loan you money with 
\ a smile and exact payment in blood. 

DESPAIR 

True! every word of it. Exact payment in blood — that's it! 

YOUTH 

(to Despair) 
Say, old side-partner, they're not breaking for you, are they? 

despair 
No; I've given up. There's no hope for me. 

YOUTH 

Oh, yes, there is. What's your name? 

despair 
Despair is my name. 

YOUTH 

Oh! Well, I wouldn't give up yet — try it once more. 

DEALER AT LEFT 

Make your bets, gentlemen ! 

DESPAIR 

{hopelessly) 
I have to give up — I have nothing left. 

YOUTH 

Here! I'll let you have a stack. 

DESPAIR 

No, no; thank you. , 



EXPERIENCE 67 

YOUTH 

Please! take it now and bet as I do. Put up the whole stack 
— you're sure to win. 

(Youth bets on a number — Despair puts the borrowed 
stack on the sa?ne number. The Dealer spins the ball 
and when it stops rolling calls the number.) 

DEALER AT RIGHT 

Eight in the Black ! 

(Youth and Despair both lose.) 

YOUTH 

Gee! that's queer. That's the first time I've lost. 

(To Despair.) 
Come on, I'll stake you again. 

despair 
{getting up) 
No, no, thank you. You have a kind heart — but I can't take 
advantage of it. I'm gone, I tell you, gone! 
(Despair goes to big chair at extreme Left — sits in chair 
— buries his head in his arms — cries quietly. Chance 
looks at him, smiling.) 

youth 

{to Experience) 
He isn't a regular gambler, is he? 

experience 
No, poor chap ; he is one of Fortune's fools. He goes a-woo- 
ing with tears in his voice and the fickle jade laughs at 
him. 

youth 

Well, I'm not going to let her laugh at me. I'll double up 
now and get that last bet back. 

(Youth places his checks. The ball spins. The Dealer 
calls the number.) 



68 EXPERIENCE 

DEALER AT RIGHT 

Thirty-two in the Red! 

(Youth wins — Good Nature loses,) 

YOUTH 
{elated) 
See! in the Red again! It's my night, all right. Now I'm 
going to make one big bet and quit. 

EXPERIENCE 

Any time you quit you're that much ahead of the game. 

YOUTH 

Here I go! Fm not playing any system so it doesn't matter. 
I'll stick to the Red. 

{Puts up a lot of chips. The hall spins and the Dealer 
calls the number.) 

DEALER AT RIGHT 

Thirty-six in the Red ! 

YOUTH 

What did I tell you? 

EXPERIENCE 

You told me you'd make one big bet and quit. 

YOUTH 

And quit is just what I'm going to do. 

{To Dealer.) 
Give me a whole lot of money for these, will you, old happy- 
face! 

(Youth gives his checks to Dealer^ who counts them 
and pays Youth.) 

GOOD nature 

{to the Dealer at Right) 
I'm through. 

{Gets up.) 



EXPERIENCE 69 



Two thousand dollars at one settin'. 

{Laughs.) 



Sandwiches, sir! 



THE WAITER 

{offering a platter) 



GOOD NATURE 

Oh, hell! do you think I can get even eating sandwiches! 
{Laughs. — Exit Good Nature.) 

YOUTH 

{getting up — very much elated) 
There's a roll for you! All I lost in the Primrose Path — 
see, I got it back again in fifteen minutes. Dame For- 
tune isn't so very fickle with me. 

EXPERIENCE 

Just give her time, my boy; the more you learn to care for 
her the more cruelly she'll treat you. 

(Experience walks over to Right and goes in the other 
room. Youth turns, meets Chance^ who has strolled 
over to Left during the last few bets.) 

YOUTH 

Oh, there you are, Chance! See, I've made good — and let 
me thank you for your hospitality. 

chance 

You're entirely welcome. Won't you sit here and let my 
hospitality take on a new form — say, for instance, a bot- 
tle of wine? 

(Youth and Chance sit at small table at Left. The 
waiter hovers near.) 

YOUTH 

Thank you, no wine — seltzer and milk, if I may. 

{At a sign from Chance the waiter goes out.) 



70 EXPERIENCE 

CHANCE 

You've been very lucky to-night, Youth. It seems almost a 
pity to end the aifair so tamely. 

YOUTH 

Tamely! What do you mean? 

CHANCE 

When Fortune smiles so beguilingly why not accept the in- 
vitation for all it's worth — embrace her, my boy; she'll 
stand for it. 

{Waiter brings the drink and a box of cigars,) 

YOUTH 

That's the way I feel about it, but Experience tells me that 
Fortune is not to be depended upon. 

CHANCE 

Oh, pshaw! Experience gives everybody cold feet, 

YOUTH 

My regards! 

{Drinks.) 

CHANCE 

Drink hearty! — Have a cigar! 

(Youth takes cigar — lights it.) 

No matter what your friend says Fortune is crazy about 
you — can't you see it! Go on, set in there again. Force 
your luck while it's with you and get a roll that's worth 
while. The sky is the limit for you. Of course, I'm 
not being very kind to my own pocketbook when I talk 
in this manner, but I like to see Youth have his fling. 

YOUTH 

Wait till I count what I have. Maybe there's enough here 
for my purposes. 

(Youth counts his money. In the meantime Experience 
has strolled off through the archway and, after looking 



EXPERIENCE 71 

over the other table, returns to Despair. Experience 
touches him on the shoulder. Despair looks up.) 

EXPERIENCE 

What's the matter, old friend? 

DESPAIR 

Nothing. 

EXPERIENCE 

Oh, yes, there is. 

DESPAIR 

To-morrow — to-morrow was to have been my wedding day. 

EXPERIENCE 

I understand. 

DESPAIR 

Last week I brought my own money here — 

EXPERIENCE 

And left it here. 

DESPAIR 

She's a very beautiful girl — she's so beautiful herself that 
she must have beautiful things about her — dresses and 
jewelry and all that — and I was so sure 

EXPERIENCE 

{interrupting) 
Sure! Sure of what? In the Corridors of Chance the only 
sure things are the bewildered fools who send good money 
after bad. 

DESPAIR 

And to-day there was money in front of me — it wasn't my 
money — but she is so beautiful and I love her so much — 
I took the money — now it's gone — and to-morrow — to- 
morrow we set for our wedding day. 
(Despair buries his face in his arms and cries. Experi- 
ence shrugs his shoulders compassionately.) 



72 EXPERIENCE 

YOUTH 

{jumping up and going back to the roulette table) 
You're right, Chance. Fortune is smiling on me to-night so 
I'll take all she has to offer. 

{To Dealer — giving him the roll of money.) 
Give me those large checks — yes, those with the stars in them. 
I'm going to court Fortune with every penny I have in 
the world. « 

EXPERIENCE 

{who has strolled over to Youth) 
I thought you were through? 

YOUTH 

I was out Chance told me it was all nonsense to stop so soon. 

EXPERIENCE 

Of course he did. If the fools held on to their own the 
gamblers would starve. 

(Youth has three stacks — the chips representing all his 
money. He pushes one stack on a number. The ball 
spins. When it stops the Dealer calls the number.) 

DEALER AT RIGHT 

Fifteen in the black! 

(The Dealer takes Youth's checks.) 

YOUTH 

It's a good sign when you lose the first one. 

{Puts another stack on a number.) 
I'll get it all back this bet — see if I don't. I'm going after 
this in a big way. It's no time to pike when luck is with 
you. 

( The ball spins. The Dealer calls the number when it 
stops.) 

DEALER AT RIGHT 

Twenty in the black! 

(Dealer takes Youth's checks.) 



EXPERIENCE 7Z 

YOUTH 
{somewhat dazed) 
That's mighty strange. Well, it simply must be Red this 
time so I'll put all I have on it. 

(Places his last stack. The ball spins and the Dealer 
calls the number when it stops.) 

DEALER AT RIGHT 

Thirty-five in the black. 

{The Dealer takes Youth's chips. Youth hunts 
through his pockets in an anxious manner for more money.) 

youth 
{to himself) 
What's the use of looking w^hen I haven't any more ! 

(Youth goes through his pockets carefully. He turns 
presently and sees Chance smiling at him in a cynical 
manner.) 

CHANCE 

{to the Dealer) 
G'wt Youth a blue stack. 

{The Dealer pushes a stack of blue chips to Youth.) 

YOUTH 

Thank you, Chance. That's very kind. You are putting me 
on my feet again. This time I'll surely play to w^in. 
{He scatters the chips and places them on various numbers. 
As the ball starts to spin Despair walks slowly over and 
watches the ball roll. When it stops the Dealer calls 
the number.) 

dealer at right 
The Double O. 

( The Dealer sweeps in Youth's chips. Despair walks 
slowly off through door at Left. Youth goes through 
his pockets but can find no money. YoUTH looks up at 
Chance who shakes his head slowly^ refusing to give 
him any more chips.) 

CHANCE 

Sorry ; but one stack is the limit of credit. 



74 EXPERIENCE 

YOUTH 

Yes, yes, I know. 

{Feels through his pockets helplessly.)' 
Everything gone — strange I didn't think to save even a few 
dollars. 

(Looks at the ring on his finger.) 

DEALER AT RIGHT 

{in a whisper to Youth) 
Ask him ; he'll slip you a stack of Reds for the ring. 

youth 
No, no! 

{He drops his head on his hands. Chance calls the Deal- 
er AT Right and they walk off the scene. There isl 
silence for a few seconds and then a pistol shot is heard 
off at Right. Youth jumps to his feet quickly.) 
What's that? I know — it's the echo of my own thoughts, 
that's what it was — the echo! I was thinking about a 
pistol at that moment. That's why the echo of my own 
thoughts frightened me. 

{To Experience.) 
What did you think it was? 

experience 
Despair has made his last bet and Death wins — as usual. 

YOUTH 

Death ! It came to him in reality and to me It was only an 
echo. 

{He goes to the door at Left and throws it open. He 
starts back nervously when he looks in the other room and 
goes to Experience.) 
Death! It never was so close to me before. Oh, Experi- 
ence! I'm frightened! I'm frightened! I'm frightened! 
{The colored waiter walks down to YoUTH.) 

COLORED waiter 

Sandwiches, sir! 

THE END OF THE EPISODE. 



THE FIFTH EPISODE. 

THE STREET OF DISILLUSION. 

Description: A street scene showing at Left the entrance 
to the ^^Primrose Path'* cabaret. 

Discovered: Youth and Experience — walking on. 

YOUTH 

This is the place, Experience; we're all right now. A lot 
of my good friends on their way to the Primrose Path 
will be along here presently. I feel confident they'll help 
me to better things with their advice and influence. 
experience 

I don't want to discourage you, my boy, but friendships made 
through the wine glass are only as the vapors of the 
night and they fade and die in the morning of reality. 

YOUTH 

Now wait a minute, Experience — you call the turn every 
time, I'll admit, but don't tell me these friends of mine 
are going back on me simply because my clothes are get- 
ting a bit shabby. That isn't fair to them. 
experience 

No, no; I'm not unfair, but I am as old as the world and I 
know that the looking glass of human nature reflects over 
and over again the same pictures. Don't depend on your 
friends — try to think of something else. 

YOUTH 

I am thinking — and I have been thinking. 

{Enter WoRK — a big and powerful man. He carries his 
coat over his arm — his sleeves rolled up. He is mopping 
his perspiring brow and is in a hurry. Experience stops 
htm.) 

(75) 



76 EXPERIENCE 

EXPERIENCE 

Oh, this is an opportune meeting. How are you, Work!' 
Fm glad to see you. Youth, meet my friend, Work. 

YOUTH 

Work ! how are you ? I was thinking about you and wonder- 
ing what you looked like. 

WORK 
{roughly) 
Youth, eh? Well, you size up all right to me. Fm looking 
for huskies like you. Fve got a lot of vacant places down 
at the bottom of the ladder. Come on, speak up, speak 
up; don't stand there staring at me. Oh! Fm rough, I 
know, but there isn't any harm in me — ask your friend, 
Experience. 

YOUTH 

{ingenuously) 

I know there isn't any harm in you — but — well 

{Turns to Experience.) 
He isn't very attractive, is he? Did you notice his voice? — 
sounds like the lash of a whip ! See how the perspiration 
is rolling down his face! I don't believe Fd like to chum 
around with him. 

experience 
Oh, Work is all right. Why, in time you'd learn to love 
him like a father. 

WORK 
{roughly) 
Now, just a minute — this is not my way of doing things. — 
If you want to have any dealings with me come right 
along — don't shilly-shaly around here — what is it? Speak 
up ! speak up ! 

YOUTH 

Well, to be frank with you, I didn't think you were quite 
so rough in your manner. I thought you were — ^well, 
you see, your hands — they are so 




Fifth Episode 
Work: "Well, you size up all right to me. I'm looking for 

huskies like you," 

Page 76 



EXPERIENCE 77 

WORK 
{interrupting) 
Oh ! I know — you expected to find me looking like a picture 
of a new suit of clothes. Well, you've got the wrong 
idea, boy! I'm old Work — the original — and I have no 
spare moments to put on starched shirts and fol de rols. 
Maybe it's one of my sons you expected to meet — I have 
five of them. Now there's my oldest son — Job — he takes 
after me — he's rough and ready and willing — Job is. 
Then there's my twins, Position and Employment — nice 
boys, but a little unsteady sometimes. Then there's the 
pride of the family — Profesion. I sent him to college 
and he made good. He's all right — he's a credit to his 
father and mother. And then there's Sinecure — he's the 
black sheep of the family, Sinecure is. He's dolled up 
all the time and he travels around with a loafer by the 
name of Graft. Sinecure is the only one in the family 
I have no use for, but I don't see much of him — he's 
pretty hard to find. I don't know why I'm wasting my 
time standing here to tell you all this — but you're a kid 
and there's only one way to start right and that's through 
me. If you're with me I'll take you home and let you 
meet my Missus — her name is Content — she's the mother 
of all my boys, Content is — she'll be a mother to you — 
and she's the finest, grandest mother in all the world. 
Now listen, boy; I know your mind is all confused and 
you're not strong for me right now — so I'm going about 
my affairs — and when your thoughts turn to old Work 
—when you surely want me — well, you come out and 
look for me — so long! 

{Exit Work.) 

YOUTH 

He improves as you get to know him — doesn't he? I'd bet- 
ter call him back and — no; I'll see my friends first — 
maybe they can introduce me to that son of his — what's 
his name? 



78 EXPERIENCE 

EXPERIENCE 

You mean Sinecure? 

YOUTH 
That's the one — Sinecure. I want to start in on the very 
top round of the ladder where it's soft and easy — so I 
can have time to spend with my friends. 

EXPERIENCE 

Only a bird can start at the top of the ladder — and stay there! 
{Enter Pleasure from Left.) 

YOUTH 

{to Experience) 
Now I'm all right. Pleasure still has that inviting smile. 

{He goes to her.) 
Good evening, Pleasure ! 

pleasure 
{coldly) 
I beg your pardon ! 

YOUTH 

We've been strangers lately but you remember me, of course !• 

PLEASURE 

{coldly) 
I can't say that I do — — 

YOUTH 

Youth! — don't you remember? — You invited me to the 
Primrose Path. I haven't been there lately because I've 
had the misfortune to 

PLEASURE 
{interrupting) 
Stop! it was never intended that the word "misfortune" 
should be spoken in my presence. It annoys me fright- 
fully — ^please step aside ! 

(She exits haughtily into the Cabaret.) 



EXPERIENCE 79 

YOUTH 

{to Experience) 
She doesn't know me — and even her voice is different. It 
hurts to have her speak that way! 

EXPERIENCE 

The voice of Pleasure is always the thrust of a dagger in 
the dark. 

{Enter Style and Beauty.) 

YOUTH 

{goes to Beauty) 
Beauty, you remember me, don't you? 

BEAUTY 

Of course ; we danced the Tango together, didn't we ? 

YOUTH 

No, I never danced a Tango with you— but we waltzed to- 
gether — we were very good friends. 

BEAUTY 

Oh, really; I've forgotten; I waltz with so many — pardon 
me, won't you ? 

{She goes in Cabaret,) 

YOUTH 

{to Style) 
I'm so glad to see you again, Style! How have you been? 

STYLE 

I don't seem to recall you. 

YOUTH 
Oh, yes, you do. Don't you remember how nice you were 
to me about my necktie — it was just a little too narrow 
— remember ? And my trousers were too long — of course, 
these I have on now are the worse for wear and they 
are not pressed but I think the length is all right, don't 
you? 

STYLE 
Have you been drinking? 



80 EXPERIENCE 

YOUTH 

No; no, I cut that all out. 

STYLE 

Well, I'm afraid you haven't quite recovered because I don*t 
know you and I don't know what you're talking about. 
(Style goes in Cabaret.) 

YOUTH 

{to Experience) 
Have I changed so very much or what is the matter ? 

EXPERIENCE 

You haven't changed, my boy, and neither has human nature. 
Fair weather friends have no use for you when there's 
a storm in your soul. 

YOUTH 

It's hard to lose faith in them — but I'm beginning to under- 
stand. 

{Enter WEALTH and Frivolity at other side.) 
There's Wealth!' I'm sure I can depend upon him. 

{Goes to Wealth.) 

WEALTH 

{to Frivolity) 
You can believe me — just so long as there's any champagne 
left in the world I shall devote my life to you, Frivolity I 

YOUTH 

{to Wealth) 
Pardon me! 

FRIVOLITY 

{to Wealth) 
You couldn't find a better way to occupy your time. 

youth 
{to Wealth) 
Good evening. Wealth — how have you been? 



EXPERIENCE 81 

WEALTH 

{paying no attention to him — speaks to Frivolity) 
Every time I sober up lately I begin to moralize and get 
despondent so if you don't mind I'll shut out all the blue 
devils by travelling around vs^ith you, Frivolity. 

FRIVOLITY 

Of course, Wealth ! — I won't give you time to be despondent. 
Let's go in and dance — I love dancing! 
{Exit Frivolity into Cabaret. Wealth is about to fol- 
low — Youth takes him by the arm.) 

YOUTH 

Listen, Wealth, I'll stand for it from the others, but don't 
you tell me you've forgotten me ! 

WEALTH 

Bless my soul, what is it? What's the matter? 

YOUTH 

You were my friend — you taught me how to throw my money 
away. 

WEALTH 

Did I? 

YOUTH 

You did — and I learned the lesson thoroughly. Now with 
your influence and advice I mean to do better things. 
A new spirit is awake within me and I want you to 
help me. 

WEALTH 

Help you — of course — I'm always helping people — but don't 
take advantage of me when I'm with a lady. Now me- 
member that — here's a bit of money for you! 
{Holds out a bill to Youth.) 



82 EXPERIENCE 

YOUTH 
{looking at him in astonishment) 
Money! — ^you — you think I want your money! Well, I 
don't. You taught me to throw mine away but you can't 
teach me to take yours like a beggar. 

WEALTH 

Well, what is it you wanted? 

YOUTH 

I wanted a chance to earn it. I wanted a chance to prove 
to myself that even if Ambition is dead his memory still 
lives — and you've given it to me. Yes, you, with your 
smug-faced charity, you have shown me that Experience 
is right. The friendship of the selfish is a warm wind 
from the South when the skies are clear, but when trouble 
comes it's as cold as the blast of Death. Go where Frivol- 
ity waits for you — you've taught me something worth 
while this time. Come on, Experience, I'm going to look 
for Work. 

THE END OF THE EPISODE. 



THE SIXTH EPISODE. 

IN THE HOUSE OF THE LAST RESORT. 

Description: A dive of the Rathskeller type. Door in 
back leading to the street. Door at Left 
leading to the kitchen. Cheap tables 
about the place. A small platform at 
Right upon which the performer stands 
to sing; a piano above platform at Right. 



Discovered : 



Grouch sitting at a table at Left. YoUTH^ 
as a waiter, in his shirt sleeves and an 
apron, is serving him. Experience^ also 
as a waiter, is at a table at Right, waiting 
on Disgrace, a man, and Indolence, a 
woman. Pianist pounding out rag-time 
on piano. 



GROUCH 

(loudly) 

Here! here! stop that! I'm not going to learn to eat to music. 

{To Youth.) 
Say! what kind of a waiter are you? I ask you for two 
eggs boiled three minutes and you bring me a couple of 
door knobs. — What do you mean? 

YOUTH 

I'm sorry, Grouch, but I brought you what they gave me. 

GROUCH 

Aw, shut up! I'm payin' for what I want — not what you 
bring me — see? If you don't know how to wait you 
shouldn't be here. 

(83) 



84 EXPERIENCE 

YOUTH 

That's the trouble — I don't know how to wait. 

GROUCH 

You bet you don't. 

YOUTH 

Why don't you give a fellow a chance? 

GROUCH 

Give you a chance! Say! I've come in here to get waited on 
— not to give chances. I want things right. 
{Indicating piece of toast.) 

And look at this! — I asked for toast, didn't I? — ^Toast is 
what I asked for — and what's this? A half-portion of 
rag-carpet — that's what it is. How am I going to eat 
it ? — how ? — how ? 

YOUTH 

Well, I'll tell you, Grouch — if you eat as you usually do I 
should say it's something like a vacuum cleaner. 

GROUCH 

That'll do! Don't get new, now — don't get newJ 

{Holds up coffee cup.) 
What's this? What do you call this? 

YOUTH 

I haven't found a name for it myself — but the Boss calls it 
coffee. 

GROUCH 

Coffee! — Huh! Coffee! Where does it come from? 

YOUTH 

I think it's imported from the Ohio River. 

GROUCH 

Oh! is that so! Say! I want to tell you something: — If you 
want to make a hit with me you wait on me right. I'm 
a steady customer here and if you want my trade you 
keep your face closed — and don't talk back — See? 



EXPERIENCE 85 

YOUTH 

Listen, Grouch — you order fifteen cents worth of food and 

you hand me four dollars worth of abuse. Now eat the 

door knobs and let me alone. 
( Turns to Experience^ who has come down stage and is 

watching him.) 
Oh! Experience, I can't stand this much longer — I can't 

do it. 

EXPERIENCE 

My boy, you still have a foot-hold on the edge of the abyss. 
Courage! There may be a chance to crawl back to 
safety. 

YOUTH 

It isn't that I have no courage — but look! Look where I 
am! Look what I've done with my prospects — buried 
them all under the dust of failure. But I have tried, 
haven't I, Experience? When my friends passed me by 
I didn't give up, did I? Day after day I walked the 
streets looking for Work — and couldn't find him. He's 
so big and powerful — and it's such a little world — I won- 
der why I couldn't meet him again; and why^ to keep 
body and soul together. Fate should drive me here to the 
House of Last Resort. 

EXPERIENCE 

You are trying to solve the Riddle of Life, my boy — and the 
Great Answer can come to you only through sorrow and 
suffering. 

GROUCH 
( angrily ) 
Waiter!' 

(Youth goes to him. Experience goes up and waits on 
the man and woman — then exits at Left. Enter Frailty. 
She goes to table at Right.) 

YOUTH 

(to Grouch) 
What is it now? 



86 EXPERIENCE 

GROUCH 

I want to pay my check. 

YOUTH 

Two eggs — coffee — toast — twenty cents. 

GROUCH 

(gives coin) 
There you are — give my nickle in change — I don't believe m 
giving tips — understand ? 

YOUTH 
(gives him nickle) 
Listen ! If you gave me a tip you wouldn't eat for a week — 
and I'd hate to see you lose flesh. 

GROUCH 

Aw! cut it out! 
Hello, Kid! 
Hello, Frailty! 

FRAILTY 

Havin' another run-in with Grouch? 

YOUTH 

No ; it's the same one — it's always continued in our next. 

FRAILTY 

Sit down, Kid! 

YOUTH 

No, Frailty! the Boss might catch me — and he's not strong 
for me anyway. 

FRAILTY 

Aw !' let him rave. Sit down! 

YOUTH 

(sitting down) 
Well, I'll take a chance. I've been on my feet for eight 
hours — but there isn't much doing just now. 



FRAILTY 

(to Youth) 

YOUTH 

(going to Frailty) 



EXPERIENCE 87 

FRAILTY 

There ain't ever anything doing here till about the time de- 
cent people hit the hay. You got the blues, ain't you, Kid ? 

YOUTH 

Well, I'm not holding my sides from laughing — or anything 
like that. 

FRAILTY 

What's the idea. Kid ? 

YOUTH 

What do you mean ? 

FRAILTY 

I've been sizing you up every time I slide in here. You don't 
belong to this joint. 

YOUTH 

I've got to live some way. 

(Grouch falls to sleep quietly — head down on chest.) 

FRAILTY 

I know! we all got to live — someway. I guess you got me 
sized up, too, ain't you? 

YOUTH 

I don't have time to size anybody up. 

FRAILTY 

Yes, you do. Kid — but you've got the real stuff in your 
make-up — and that's why I like you. You don't get 
mushy like some of those drum-heads in the slumming 
parties and lean over and pat me on the hand and say, 
"Who done this to you? — Come on, tell me the story of 
your life, little girl." Gee! I hate them guys. 

YOUTH 

I don't blame you. 

FRAILTY 

Listen, Kid! it's all right for me to be part of the furniture 
here because I'm a girl and the devil has his brand on 



88 EXPERIENCE 

my shoulder — but you don't belong! What put you up 
against it, Kid — booze or a doll? 

YOUTH 

Neither one of them. 

FRAILTY 

Ain't you never had a little queen to patter around and make 
a little fuss over you? 

YOUTH 

Please! I took the wrong road — that's all. 

FRAILTY 

I'm right with you, Kid. I picked out the w^rong road 
myself — and I picked a bird. 

YOUTH 

One vrith v^^hite lights all over it, eh? 

FRAILTY 

Sure !' 

YOUTH 

They make a rotten road look mighty cheerful — those old 
^incandescents. 

FRAILTY 

Ain't it hell, Kid? 

YOUTH 

It is for me — and it must be vs^orse than that for you. 

FRAILTY 

It's a black world for a lot of us, boy. But, come on — 
let's pin a rose on it. Roses look well on black. 

YOUTH 

You know, it does me a lot of good to talk to you — It makes 
me ashamed of myself for wanting to give up the fight. 
You're a dead game little sport and I hope you'll come 
to a turning in your road — and you'll leave all the white 



EXPERIENCE 89 

lights behind you and you'll go on and on to a little 
cottage waiting for you in the sunset. 

FRAILTY 

Don't, Kid — please! I get dreams like that sometimes — and 
I dream till my heart aches. But you know what my 
name is — and the World knows what my name is — and 
there ain't any man willing to call his wife Frailty. 

YOUTH 

Gee! it's tough! 

FRAILTY 

Aw, come on ; let's cut this out — or the weeping willows 
won't have anything on us. Listen ! I like you, Kid, and 
I'd go the limit for you because you treat me just as if 
I was a nice girl. 

YOUTH 

You are. 

FRAILTY 

I am — with you — and that lets me out. But, say! never 
mind about me. — You got to get away from this joint. 
It's coverin' your soul with poison. 

YOUTH 

How am I going to do it? 

FRAILTY 

You've got to get money, Kid! 

{Enter Makeshift^ a rough, husky man. He watches 
them. Experience enters from kitchen and looks on.) 

YOUTH 

Money! Listen, girl, you're making me laugh. I should 
say I have got to get money. 

GROUCH 
{waking up) 
Walter! Where's that waiter? 

(Youth jumps up quickly.) 



90 EXPERIENCE 

MAKESHIFT 

(roughly to Youth) 
Say! what do you think this is — a front parlor in the St. 
Regis? Now you cut out this loafin' and chinnin' with 
the customers or I'll boot you out of my place. 

FRAILTY 

Say, Makeshift — you let him alone — ^you big stiff. 

MAKESHIFT 

Is that so? — I'm on all right. I'll throw you out, too. 

YOUTH 

Now listen, Makeshift; she had nothing to do with it. 

MAKESHIFT 

Shut up — and attend to your work. 

{Turning on Frailty.) 
And don't you go buttin' in just because you're stuck on him. 

FRAILTY 

Well, s'pose I am — he ain't stuck on me — and you're a bum 
sport to go and tip him off. 

(To Youth.) 
Bring me a beer. Kid. 

(As Youth starts off. Grouch calls him.) 

GROUCH 
Waiter ! Come here — fresh ! 

YOUTH 
(as he is passing him) 
Oh, go to hell ! 

(Youth exits at Left. Experience follows him off.) 

GROUCH 

(to Makeshift) 
Get me, Makeshift ! You want to get rid of him if you want 
my trade. 



EXPERIENCE 91 

MAKESHIFT 

Leave him to me; I'll learn him or break his neck. 

( The habitues of the place begin to gather for their nightly 
revels — Dissolute^ a girl, with Rogue^ a man; Illit- 
erate, a girl, with Sneak, a man; Reckless, a girl, 
with Cheat, a man. Dissolute and Rogue come down 
to Makeshift. Dissolute speaks with French accent,) 

MAKESHIFT 

How are you, Rogue ! How are you, Dissolute ! Say, get 
this! There's a swell slumming party doin' my joint to- 
night and I don't want you to put anything over. 

dissolute 
{with French accent) 
Ah, Makeshift, you are so funny! Why it is we don't put 
what you call "something over" on these fools that go 
slumming! My friend Rogue and me — we have to live 
— nest-ce pas! 

ROGUE 

Sure, Makeshift, let me pick a sparkler, or fish out a bank 
roll from dese swell nuts. Me and Dissolute is got to 
eat, ain't we ? 

makeshift 
Nix! No rough stuff to-night. I give me word to the 
Captain of the Precinct — and me word is me bond, see!' 

dissolute 
{laughs — goes to Grouch) 
His word is a bond, eh! Well, it is some bond. 

{Enter YoUTH with a glass of beer for Frailty — he goes 
to table — gives her the beer — she pays for it. Experi- 
ence enters at same time and waits on tables in back.) 

frailty 
Thank you. Kid ! 

{Whispers.) 
Don't let Makeshift get your goat. 



92 EXPERIENCE 

DISSOLUTE 

(goes to Youth) 
I could call ze handsome waiter — yes! 

YOUTH 

{to Dissolute) 
You want to order something? 

DISSOLUTE 

Ordaire — ha! I want to talk wiz you. You are not like 
ze uzzer waiters — you have in ze face somethirvg — what 
you call!^ — different, eh? I could put such lovi'ng arms 
around you and I could kiss you, ah, so sweet. 

ROGUE 
{dragging her away roughly) 
Cut that stuff! 

(To Youth.) 
You let my doll alone or I'll break your jaw. 

(Youth draws back to hit Rogue — Dissoolute grabs 
Rogue — Frailty touches Youth on the arm.) 

FRAILTY 
{warningly) 
The goat, Kid, the goat! Rough stuff won't get you any- 
thing. 

MAKESHIFT 

{to Youth) 
Say! You're goin' to get yours in a minute. Now you get 
busy or I'll bounce my fist off your bean. 
(Youth goes to table L., and waits on Reckless and 
Cheat — going out at Left presently for the order. Ex- 
perience follows him out. Indolence, a girl, with 
Rascal, a man, enter. Illiterate comes down to 
Makeshift.) 

illiterate 
( tearfully ) 
Say, Makeshift, youse has always took me for a lady, ain't 
youse. 

(Sneak comes doivn.) 



EXPERIENCE 93 

MAKESHIFT 

What's the trouble, Illiterate? 

ILLITERATE 

Say! Fm a lady, I am, and I comes in dis hole in de wall 
wit dis guy Sneak for a pail of suds. After he goes 
swimmin' in de suds he tells me he's broke and I got to 
pay for it. 

SNEAK 

Aw, cheese! cheese! You got de coin, ain't you? 

ILLITERATE 

Sj*y, I'm a lady, and I pays as I goes, see! — but I ain't goin' 
to put up my good money to cover your system with a 
cheap jag. 

MAKESHIFT 

{shakes Sneak) 
Yod pay for your own drinks, Sneak — come across! 

sneak 
How kin I? I'm flat. 

MAKESHIFT 

What are you doin' in here if you ain't got any coin ? 
(Makeshift grabs Sneak and runs him out.) 

ILLITERATE 

Once a lady, always a lady! 

{Sits at table. Pianist plays — chatter and laughter — wait- 
ers running back and forth with beer. Youth and Ex- 
perience in and out — very busy. Makeshift goes from 
table to table and presently gets down to Frailty at 
table at Left.) 

makeshift 

{to Frailty) 

Say, you're usin' up a lot of table here — where's your John? 



94 EXPERIENCE 

FRAILTY 

Oh, let me alone. 

( To Youth, who is at the next table serving beer.) 
Gimme another beer, Kid ! 

(Makeshift walks away. Youth gives her a glass of 
beer from his tray — wipes off the table. Reckless goes 
down to table J C.) 

makeshift 
(sees Reckless) 
Here, here! This table is reserved. Get out o' here! 

reckless 
Say, Makeshift, listen ! What was that line of talk you were 
handing out last night about a swell guy comin' here to 
sing for j^our customers? 

(Youth nudges Frailty on the arm — they both listen. 
Experience joins them.) 

MAKESHIFT 

Well, I engages a cuckoo, see! and I pays him twenty-five 
bones in advance. Then when he comes down here and 
sees my place he throws the coin on the floor and beats 
it. Say ! I hope de next time he hits a high note it chokes 
him. 

YOUTH 

(to Experience) 
If I could get a chance to sing maybe I'd make good ! 

frailty 
Go after it. Kid. I'll plug for you. 

YOUTH 

Ask him for me, Experience — please! You know I learned 
a lot of songs in the Primrose Path — maybe I can put 
one over. 

cheat 
(to Makeshift) 
It ain't goin* to do your place no good to advertise swell 
singers and then not produce. 



EXPERIENCE 95 

MAKESHIFT 

It ain't my fault. 

YOUTH 
If I could make good maybe it might lead to something bet- 
ter — ask him, Experience! 

(Experience goes to Makeshift.) 

FRAILTY 

{to Youth) 
Singin' is better than beer slingin'! Gee, Kid! I'm rootin' 
for you ! 

EXPERIENCE 

{to Makeshift) 
Your singer didn't show up, eh! 

MAKESHIFT 

No; left me flat. 

EXPERIENCE 

G'wQ Youth a chance, will you? 

MAKESHIFT 

Who — him ? What do you want to do — drive my customers 
out? 

EXPERIENCE 

He won't do that — he'll entertain them — let him try. 

MAKESHIFT 

Well, I suppose there's only one way to find out and that's 
through 5^ou, Experience. All right, tell him to tune up. 
(Experience goes to Youth. Makeshift goes to Left 
up stage.) 

experience 
He'll give you a chance — pull yourself together and don't get 
nervous. 

frailty 
If the audience gets up and leaves the room you'll still be 
a hit with me, Kid! 



96 EXPERIENCE 

(Makeshift gets to table L-C. Youth goes to pianist — 
explains about song — Experience stands near Frailty 
— chatter and laughter.) 

MAKESHIFT 

Order! Order! Ladies and gents: I take great pleasure in 
announcin' the first appearance in my Royal Palace Cafe 
of — get up on the platform, Kid! 

(Youth does so — he is very nervous.") 

The first appearance of — what's your singin' name, Kid? 

youth 
It's immaterial. 

MAKESHIFT 

I takes great pleasure, ladies and gents, in introducin' Imma- 
terial, the singin' wonder of dis city. 

YOUTH 

Listen, don't call me a wonder, because I'm not, and ft makes 
me conscious. 

MAKESHIFT 

Well, get conscious. You make good or I'll throw you out. 
Cut loose! 

(Makeshift walks off.) 

YOUTH 
{sings — plaintively and nervously) 
There's a Big Road in the City 

That they call The Great White Way, 
Where the bright lights — staring white lights — 

Turn the night-time into day; 
But you're lonely when you walk it 

For you want once more to find 
In the shadows, in the darkness, 

That Old Road you left behind : — 



EXPERIENCE 97, 

REFRAIN 

It's the Old Road back to Homeland, 

It's the outcast's only goal, 
Where the ever cruel white lights 

Throw no shadows on your soul. 
It's the Old Road back to Childhood, 

It's the road you want to roam, 
With the stars above to guide you — 

It's the Road to Home, Sweet Home! 

SECOND VERSE 

With your pockets lined with money 

You can walk The Great White Way; 
It's a fine road — song and wine road! 

Just an endless holiday; 
But when once your gold has vanished 

In the cold gray dawn you'll find 
That it's dreary and you're weary 

For the Road you left behind : — 

REFRAIN 

It's the Old Road back to Homeland, 

It's the outcast's only goal. 
Where the ever cruel white lights 
Throw no shadows on your soul. 
It's the Old Road back to Childhood, 

It's the road you want to roam, 
With the stars above to guide you — 
It's the Road to Home, Sweet Home! 
(While Youth is repeating the refrain MAKESHIFT en- 
ters and sees that his customers are sentimentally affected 
by the song to an extent that some of the women are 
weeping and the men are downcast. MAKESHIFT drags 
Youth from the platform.) 



98 EXPERIENCE 

MAKESHIFT 

It won't do, I tell you ! That mush stuff don't go with me. 
You got a lot of these dames bawlln' their eyes out — that 
don't sell beer! 

( The habitues of the place applaud YoUTH.) 

YOUTH 

But wait a minute — the people like me. 

MAKESHIFT 

Like you — nothing! They just made a noise with their hands 
to keep from throwin' the furniture at you — I'm wise. 

YOUTH 

I'll sing every evening — just for my board, if you'll let me. 
I'll learn a lot of songs. 

MAKESHIFT 

No, I tell you ! No ! You learn to be a waiter — and learn 
it quick or out you go. 

{Walks away.) 

YOUTH 

(to Experience) 
Well, I didn't make good? 

experience 
I thought you did. 

FRAILTY 

Sure you made good, Kid. Why, to me you had Caruso 
making faces at himself. 

{Enter the slumming party — Pleasure, Beauty, Fash- 
ion, Style and Wealth. Makeshift meets them — 
sits them at the table reserved for them in C.) 
makeshift 
Glad to see you, ladies and gents ! This way ! 

YOUTH 

{seeing them — speaks to Experience) 
Look, Experience — they'll know me and recognize me. What 
am I to do? 



EXPERIENCE 99 

EXPERIENCE 

They'll not know you, my boy, because they look upon the 
scene with eyes that are blind to the truth and in their 
hearts there is no understanding. 

(Experience goes up stage.) 

MAKESHIFT 

{to Youth) 
Say! Now is the limit, see! Ain't that your table — don't 
you see ladies and gents settin' there ? Go on — get busy l 
{Pushes him to table at C.) 

YOUTH 

{shame-faced, R. of table C.) 
Order, ladies and gents! 

PLEASURE 

{to others) 
Oh ! Here is the waiter ! Typical of the place, isn't he ? 

BEAUTY 
Depraved face, I think! 

STYLE 

Quite ! Wicked-looking eyes ! 

YOUTH 

{getting angry) 
Orders, please! 

FASHION 

Fancy! He doesn't even glance at my gown! 

WEALTH 
{to the others) 
Shall we have some wine? 

PLEASURE 

Oh, not here! Wine would be terribly out of place. That 
sort of waiter doesn't suggest wine! 



100 EXPERIENCE 

YOUTH 

(angrily) 
Orders, ladies and gents ! 

BEAUTY 

Vicious looking, Isn't he? 

STYLE 

Quite. Notice the way he glares. 

WEALTH 

Shall we try some beer? 

PLEASURE 

Oh, do! Beer sounds so slummy. 

WEALTH 

(to Youth) 
Bring me a lot of it — enough for everybody in the place. 
(Youth starts for exit — stops up stage — tells Make- 
shift what Wealth said and exits at Left. Make- 
shift sends Experience and other waiters after beer 
for the crowd.) 

PLEASURE 

Oh, Fashion, don't you love them? — such murderous types. 

FASHION 

Yes, Pleasure, but they don't look at my clothes. Why 
should I come here if I'm not to be noticed! 

WEALTH 

Pardon mef 

(Crosses to the table where Frailty is sitting.) 

FASHION 

Oh, he's going to speak to that girl! 

FRIVOLITY 

Wait a moment. Wealth ;— didn't you say you were going 
to devote all your time to me? 



EXPERIENCE 101 

WEALTH 

I'm afraid I've said that to a great many ladies. 

PLEASURE 

Wealth is so cx)smopolitan, isn't he? 

WEALTH 

(to Frailty) 
Good evening! 

frailty 
Hello, Pop! 

WEALTH 

May I buy you a glass of beer ? 

FRAILTY 

You ain't goin' to hurt my feelings. 

(Youth, Experience and other waiters on with beer. 
Youth puts four glasses on table for Pleasure's party.) 

WEALTH 

{calling Youth) 
Waiter! Some beer! 

(Youth crosses — puts two glasses at Frailty's table. 
The pianist plays — chatter — laughter — the waiters very 
busy — Makeshift moving about for several seconds. 
Indolence, finding that Rascal, her escort, has left her 
and has gone over to flirt with Illiterate, throws a 
beer mug at his head, misses him and breaks a lot of 
dishes. There follows a row typical of the place.) 

indolence 
{to Illiterate) 
Whata you try to do, eh? 

illiterate 
Aw, beat it, Indolence, you Wop! 

INDOLENCE 

So, you calla me da Wop, eh? 

{To Rascal.) 
And you — you makea for me one double-cross, eh? 



102 EXPERIENCE 



RASCAL 

No, no; I justa speaka da good eve! 

INDOLENCE 

Oh, you speaka da good eve! — then I speaka da good night! 
{Gets knife from her stocking — Makeshift grabs her 
hand.) 

MAKESHIFT 

Cut that, now — get back to your beer drinkln' or I'll throw 
the whole bunch of you out. 

INDOLENCE 

{dragging Rascal with her) 
You cornea with me or I makea plenty da work for da Doc I 

MAKESHIFT 

Order! Order! Ladies and gents, I wants youse to drink 
to Wealth, which has treated you so royal. 
{All the habitues of the place rise — raise their beer glasses 
and shout : ''Here's looking at you. Wealth !" Wealth 
acknowledges by rising and bowing. Chatter. Pianist 
plays. ) 

PLEASURE 

Exciting, isn't it, Beauty? 

BEAUTY 

Extremely ! but the atmosphere isn't good for my complexion. 

FASHION 

I hate the place — there's nobody here to notice my clothes. 

STYLE 

{rising) 
I don't care for slumming. One never knows just what to 
wear. 

WEALTH 

{to Frailty) 
I'm sorry you won't tell me the story of your life. I feel 
very sympathetic to-night. 



EXPERIENCE 103 

FRAILTY 

Listen, Pop! Carry your sympathy a little steadier — you*re 
spilling it. 

PLEASURE 

{to YoUTH^ who stands near their table) 
^ Waiter! Tell Wealth we are quite ready to go. 

YOUTH 

{to Wealth) 
They're waiting for you. 

WEALTH 

{getting up) 
All right, but don't touch me on the shoulder — I don't like it. 

YOUTH 

I'm sorry. {Exit at L.) 

WEALTH 

{gives money to Makeshift) 
Keep the change, my man ! 

(Makeshift^ elated, goes over to Pleasure — speaks in 
pantomime. She ignores him. He turns away.) 

WEALTH 

{to Frailty) 
Any objection to my taking a kiss before I go? 

FRAILTY 

What do you want to kiss me for? 

WEALTH 

Just a passing fancy. 

FRAILTY 
{bitterly) 
Put it straight, Pop. You mean you want to kiss me just 
because you can pay for it. 

WEALTH 

Certainly — I Intend to pay for it. 



104 EXPERIENCE 

(Takes out a "fat" pocketbook — extracts a hill therefrom 
and puts bill on table.) 

FRAILTY 

Gee ! You're full of sentiment, ain't you ? 

WEALTH 

Come on ; I'm not in the habit of waiting. 

FRAILTY 

{turns — sees him putting his pocketbook in the breast 

pocket of his coat) 

All right, Pop, you can kiss me — and you bet you'll pay for it. 

{She puts one arm around him — he kisses her and as he 

does so she steals his pocketbook.) 

WEALTH 

There, my girl, that's an easy way to earn money, isn't it? 

FRAILTY 
{bitterly) 
Easy — sure! Listen, Pop; it's guys like you that keeps the 
devil laughin' his head off. 

{The Slumming Party rises from the table.) 

PLEASURE 

Come, Wealth, I'm beginning to weary of slumming. It's 
all so very sordid. I wonder why people select this sort 
of life! 

WEALTH 

If they didn't select it there w^ould be no contrast in life for 
us, my dear Pleasure. 

{To Frailty.) 
Good night! 

FRAILTY 

Good night. Pop! 



EXPERIENCE 105 

(Makeshift leads the Slumming Party out to the street. 
They are all laughing and chattering as they go. The 
habitues of the place follow the Slumming Party to the 
street in quest of spoil. Experience exits, followed by 
the pianist. Frailty goes to door at Left, calls Youth.) 

FRAILTY 

Come here, Kid! 

(Youth enters.) 
It's all right now — you can get a fresh start. 

youth 
What do you mean? 

frailty 

I mean you got money 

(Shows the pocketbook.) 
— money to lift you out of the mud. 

youth 
Where did you get that? 

frailty 
I snitched it from old Wealth. 

youth 
Oh, no, girl, no! That's dead wrong. 

frailty 

Wrong, nothing. He wanted to kiss me, didn't he? — and I 

put my own price on a kiss I give to a mutt like that. 

YOUTH 

But it's wrong, girl! — we'll have to call him back to give 
him his money. 

(He starts for the door.) 

FRAILTY 
(stopping him) 
Listen, Kid ; don't be foolish. He's never going to miss it — 
it's only car-fare to him and it's a life-saver to you — be 
sensible. 



106 EXPERIENCE 

YOUTH 

Please, girl. Listen, I don't want his money and neither 
do you. Give me the pocketbook. I'll run after him 
and give it to him. 

{As Youth takes the pocketbook and starts for the door 
enter Makeshift^ Wealth and Law, a Policeman. 
Youth holds the pocketbook under his arm.) 

MAKESHIFT 

{coming down) 
Pulled that rough stuff, did she? 

WEALTH 

Yes, the girl must have taken my pocketbook. I didn't speak 
to anybody else. 

MAKESHIFT 

Frisk her, Law. She must have it on her. 

LAW 

{handling her roughly) 
Come on, now; turn over that pocketbook. Where is it? 

WEALTH 

It isn't the amount of the money — it*s just the idea of being 
robbed. 

LAW 

Come across with that coin — it's five years for you this time, 
my girl. 

youth 
{to Wealth) 
Here's your pocketbook. Let her alone. 

law 
{turning on Youth) 
So you're the one, eh? All right, I'll take you. 

FRAILTY 

No ! don't take him — I stole it myself. 



EXPERIENCE 107 

YOUTH 

She didn't steal it. You found it on me, didn't you? 

MAKESHIFT 

It's a frame-up. They're both in on it. 

LAW 

I'll run them both in. 

(To Wealth.) 
You, Wealth, appear against them to-morrow morning at 
eight o'clock. 

WEALTH 

Eight o'clock! Oh, my dear Law, that's quite impossible. 

LAW 

If you don't press the charge what can I do? 

WEALTH 

And it might get in the newspapers — the notoriety would 

hurt me. Here ! 

{Takes money from pocketbooh — gives it to Makeshift.) 
Buy some cigars. Let them go — it doesn't matter — I have 

the money back and I hate to get up so early. 

LAW 

(to Frailty and Youth) 
It's a narrow squeak for you two crooks, but I'll get you next 
time. 

(To Wealth.) 
Come on, I'll walk to your taxi with you. 

wealth 

Do, please ! I'm not safe in this part of town. Good night ! 

{Exit Wealth and Law.) 

makeshift 
Good night! 

{Pause for a moment — then Makeshift speaks to Youth 
and Frailty.) 



108 EXPERIENCE 

Well, you put one over on me, didn't you? You crabbed 
my slumming parties by makin' my house a hold-up joint. 
{To Frailty.) 
You — ^you! — Now you get out of here! 

FRAILTY 

I'm goin' — and you don't have to tell me. 

MAKESHIFT 

{to YoUTH^ threateningly) 
And I'll attend to you in a minute. 

{Exit Makeshift at L.) 

FRAILTY 

{going to Youth — tearfully) 
Good-bye, Kid! Listen, please; that was the first pocket- 
book I ever snitched, and I won't do it again — you believe 
me, don't you. Kid? 

YOUTH 

I do believe you, girl, I do. 

FRAILTY 

Thanks! It's dark, ain't it? — black dark for both of us. 
Say, would you mind kissing me — just as if you was my 
brother ? 

{He kisses her.) 
Gee! You're nice. Kid, and I won't never forget you — and 
you'll hold on, won't you? — Hold on to something — 
maybe there'll come a light for you through the darkness, 
{Enter Makeshift.) 

MAKESHIFT 

{to Frailty) 
Come on now, get out of here, you little crook. 

FRAILTY 

{turning on him) 
Say, you big stiff, if I was as crooked as you are I'd roll ©ut 
of here like a hoop. 




Sixth Episode 
Frailty: "It's dark, ain't it?— black dark for both of us." 

Page 108 



EXPERIENCE 109 

(To Youth.) 
Good-bye, Kid! I'm goin' to try to pray to God for you 
and He might hear me even if it's too late to pray for 

myself Good-bye ! 

(She goes out quietly and closes the door behind her.) 

MAKESHIFT 

{to Youth) 
Now, you! 

(Crosses to him.) 
I told you I was goin' to boot you out of here and I am. 
I had no business to take you in in the first place — I 
might of knowed you was a dirty thief! 

YOUTH 

That's enough! 

(He turns on MAKESHIFT — hits him — they fight. Make- 
shift is too powerful for him and finally knocks YouTH 
down — he lies there, unconscious, on the floor.) 

MAKESHIFT 

Now you crawl out of here or I'll break your neck! 

(Makeshift walks off at Left. Youth lies there in 
silence for five seconds. Experience opens the door — 
looks around for Youth — sees him lying there sense- 
less — hurries to him — revives him — gets him on his feet.) 

EXPERIENCE 

It's all right, my boy! I'm with you! 

YOUTH 

(exhausted) 
He was too heavy for me — too heavy, that's it. But I'll try 
again, when I get my breath. 

(Poverty^ a gruesome figure clad in rags, enters through 
the doorway. Youth turns — sees him — is frightened.) 
Look! look! who is that? 

experience 
Poverty ! 



110 EXPERIENCE 

YOUTH 

Poverty ! 

POVERTY 

I am always waiting to greet those who are thrown out of 
The House of Last Resort. 

YOUTH 

Well, you needn't wait for me. 

( Turns his back on him.) 

EXPERIENCE 

You can't snub Poverty, my boy ; he's had nothing but curses 
since the world began but he thrives upon them. 

POVERTY 

The boy doesn't know who I am. 

YOUTH 
{turning quickly) 
I do know you! You are Death's step-brother — I know! 
When you come creeping into a home Happiness dies 
from fright — and with your touch you turn the hours of 
enjoyment into ages of despair. Grin at me, if you will, 
but I know you to be the King of Suffering and all the 
sorrows of the world are your courtiers. Go on, grin, 
grin — but you're not going to get me — not while I can 

hold my head up — not while I can struggle and fight • 

(Picks up chair.) 
Go on, now; get out of here, damn you — get out! get out! 
get out! 

(Youth is driving Poverty towards the door as the cur- 
tain falls.) 

THE END of THE EPISODE. 

INTERVAL, 



THE SEVENTH EPISODE. 

IN THE STREET OF REMORSE. 

Description : A gloomy side-street at dawn. 
Discovered: Youth and Experience walking on. 

YOUTH 

{going through his empty pockets) 
Gone! gone! I threw away every penny I had — and I'm 
sick — sick in body and mind and soul. 

experience 
Of course, you're sick — and you're broke — and your nerves 
are all gone — but you're living. 

YOUTH 

Yes, but I've lost Ambition. I don't seem to care any more 
what happens. 

experience 
You're in the valley now, my boy, and it's a hard climb up 
the mountain-side. 

(Poverty enters.) 

YOUTH 

See — there he is again — he's been following me for days — 
speak to him — send him away. 

experience 
{turn ing — sees Poverty ) 
Who — him? Why send him away? 

{Goes to Poverty.) 
Well met, old friend Poverty. 

poverty 
We've been through many a hard fight together, haven't we, 
Experience ? / 

{Laughs mirthlessly.) / 

(111) / 



112 EXPERIENCE 

EXPERIENCE 

Youth, the time has come now — you must meet Poverty. 

YOUTH 

I don't want to meet him — don't you see he frightens me. 
Tell him to go away — I can't bear the sight of him. 

POVERTY 

That's the trouble with me — I never was much of a hand 
for making a good impression on anybody. 

{Laughs mirthlessly over Youth's shoulder.) 

YOUTH 

{jumping away) 
Merciful God! why does he come so close to me? — I can't 
stand it — I'm too nervous, I tell you. 
(Poverty leers at him.) 

EXPERIENCE 

You'll find he's not such a bad looking chap if you can get 

the courage to like him. 
(Delusion enters. He is a "dope" — sallow-faced and thin.) 

DELUSION 

{to Experience) 
How're you, Bo — slip me ! 

{Puts out his hand to Experience.) 

experience 
{shaking hands with Delusion) 
Oh, it's my old friend. Delusion — glad to see you — how are 
they coming? 

delusion 
In carriages, Bo — right up to the front door in carriages — 
it's a gay life if you play it with a copper on. 

experience 
Youth, I want 5rou to know my friend, Delusion. 




Seventh Episode 

Delusion: I've got a forget-factory right around the corner. 

Come on, Bo, I'll put you w^ise." 

Page 113 



EXPERIENCE 113 

DELUSION 

{putting out his hand to Youth) 
Slip me, Kid! 

YOUTH 

Delusion — I'm glad to meet you. 

DELUSION 

That goes double 

{Indicating Poverty.) 
— but It don't take In the look-out. Why do you let that 
false-alarm get near enough to pass you the crushed ice? 

YOUTH 

I can't get away from him. 

delusion 
Yes, you can, Bo. I'll take you away from him. 

YOUTH 

You! 

delusion 
Sure ! — That's the best thing I do — getting people away from 
old frost-face. I've got a forget-factory right around the 
corner. Come on, I'll put you wise. 

youth 
{to Poverty) 
You thought you had me, damn you — but my friend has 
fooled you. Hereafter you can frighten somebody else — 
you rotten old loafer! 

delusion 
Cut out the criticism, Kid — take to your O'Sullivan's and 
follow Dandy Dan. 

(Delusion walks off hurriedly at Left.) 

YOUTH 

{following Delusion) 
Come on. Experience, are you with me? 

(Youth hurries off at Left.) 



114 EXPERIENCE 

EXPERIENCE 
{sadly) 
Only a miracle can save him now. 

POVERTY 

{chuckling) 
Poor fool ! he'll find there are worse things in the world than 
Poverty ! 

EXPERIENCE 

Oh, well, it's the privilege of Youth to enjoy first and suffer 
after. And while he learns this lesson I must hold the 
book for him. — Farewell, old friend! 

(Experience walks off at Left,) 

POVERTY 

{chuckling) 
And when Delusion is through with the young fool I'll get 
him 

{chuckles) 
— if he doesn't fall into the clutches of something worse at 
heart than I am. 



THE end of the EPISODE. 



THE EIGHTH EPISODE. 



IN THE HOUSE OF LOST SOULS. 

Description: A dilapidated room in the poorer quarter of 
of city. A window in back — broken 
panes stuffed with rags. Rickety furni- 
ture — a cheap table and chairs. One door 
at Right. 

Discovered: A girl, Habit^ a dope-fiend, is discovered 
rocking to and fro in a chair and moan- 
ing. In the background is an old hag. 
Degradation^ snivelling and cackling by 
turns — a drug victim in the advanced 
stages. 

DEGRADATION 
{placing powder on hand) 
I'd give you a sniff, Habit — but I ain't got no more. 

{Sniffs.) 

HABIT 

Keep it and be damned to you, Degradation! 

DEGRADATION 
{pulling herself together and bracing up under the influence 

of the drug) 
I crawled through a sewer for the money to get that — and 
it's worth it. 

(Delusion enters through door at Right, Habit goes 
to him.) 

HABIT 

Delusion, please, gi'me some — quick! 

(115) 



116 EXPERIENCE 

DELUSION 

I ain't got none — get away! 

HABIT 

{on her knees) 
For the love of God, just enough to bring me back from hell. 

DELUSION 

{pushing her aside roughly — she falls on floor) 
Aw, get away — don't you know that coke is getting scarce. 

DEGRADATION 

{grinning inanely) 
Getting scarce! 

DELUSION 

1 ain't got none to spare for a frail like you — I'm saving 
this for a kid that needs it bad. 

(Youth appears in the door at Right. As he enters he 
sees Degradation grinning at him and, afraid, he turns 
to go and finds Experience standing in the door.) 

EXPERIENCE 

It's all right, my boy — Fm with you. 

(Youth enters the room, afraid and with nervous steps.) 
Youth, do you want to meet Degradation? 

YOUTH 

No, no; I should say not. 

EXPERIENCE 

Very well; it's up to you. 

HABIT 

{getting up on her knees to Youth) 
Please, if you pity those who suffer, get me just enough to 
bring me back. 

YOUTH 

{to Delusion) 
What does she mean ? 



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EXPERIENCE 117 

DELUSION 
Aw, don't pay no attention to her — she's squealin' for a sniiiE 
of coke — she had fifty cents worth yesterday and she don't 
share it v/ith nobody Come here, Kid ! 

( Takes out small package containing white powder as 
Youth goes to him.) 

And you, too, old pal. Experience! 

(Experience goes to his Left.) 
This is all there is in the shop, see — and it's harder to get 
than a front seat in Heaven. 

(Habit watches them like a hungry hawk — Degradation 
snivelling and grinning in the background.) 
Now, Kid, hold your hand like that, see! 

(Youth does so — Delusion pours a little of the powder 
on Youth's hand.) 
Go on now, sniff it up your nose. 

{As Youth starts to do so. Habit suddenly pounces on 
him — grabs his hand and sniffs the cocaine — DELUSION 
jumps for her — she gets the table between them.) 

Say, what are you trying to pull? 

HABIT 

Go on, strike me — beat me — murder me — I don't care — I 
got it and I'm coming back — I'm coming back from hell. 

{Laughs and is joined in the laugh by Degradation — 
the change in her manner, under the influence of the 
drug, is marked.) 

DELUSION 

Aw, you make me sick — get out and hustle for your own hop. 
{Enter Crime — a burly bully — but a dope fiend.) 

CRIME 

{in the door) 
Say, Delusion, got any dope? 

(Youth, afraid of Crime, hides behind Experience.) 



118 EXPERIENCE 



Who is that! 
Crime ! 



YOUTH 
(frightened) 

EXPERIENCE 



CRIME 

(to Delusion) 
Well, how about it? Come across with the makin's for one 
jolt, will you! See, I'm nearly in — I just had a mix-up, 
see — and I croaked a guy — in cold blood, the Cops will 
tell you — I'm beginnin' to see the Chair — everywhere 
I look— 

(Turns — sees Degradatifn grinning at him.) 

Take that grin off your face or I'll knock your block off. 
(Reaches for gun.) 

DELUSION 
(pacifying him) 
Just enough left for one sniff all around. Here you are, 
Crime! 

(Pours powder on Crime's hand.) 
Here's yours, Experience! Here, Kid, go to ft!' 

(Gives some to each — turns — finds Degradation grin- 
ning at his elbow.) 

Beat it, you bum — s'pose I'm going to waste this good stuff 
on you? 

(All sniff. Youth sniffs some of his and, without being 
noticed by the others, gives some to Habit. All sniff 
and the effect is speedily noticeable. DEGRADATION in 
the background, snivelling and grinning.) 

CRIME 

(under the influence of the drug) 
What, me ! — I should say not ! — There ain't no Chair waitin* 
for me — I'm independent, I am — I got a saloon and I'm 



EXPERIENCE 119 

rich — I'm Boss of my ward — that's what I am — I'm Boss. 
(His face reflects the wonders he dreams. Degradation 
laughs. ) 

YOUTH 

Wonderful! I'm floating over an azure sea and summer 
breezes sing sweet lullabies as I sail on and on. 
{His face reflects his thoughts of happiness. Degradation 
laughs. ) 

HABIT 

(in ecstasy) 

I'm back in my home town — see, there's my mother — "Hello, 

Jennie!" she says. You are glad to see me, ain't you, 

Mumsey — see, I'm rich — look at all the nice things I 

brought you and I ain't never goin' away from you 

again, Mumsey, never, never 

(Her voice dies away and she drops limply in the chair. 
Degradation laughs.) 

YOUTH 

(alarmed) 
What's the matter? — the azure sea is gone — there are cruel 
rocks in its place and a cold wind is howling about me. 
(The faces of the others show that the ecstatic effect of 
the drug is working off.) 

EXPERIENCE 

It's the treacherous, lying drug, my boy — it carries you out 
into an ocean of glory and leaves you there — to perish of 
thirst and hunger. 

CRIME 

There it is again — that damn Chair I 

(Sniffs his hand in a vain effort to get more of the powder.) 

HABIT 

Oh, my God — no, no, no — don't let me wake — don't! don't! 
(Degradation laughs — Delusion stirs around in his seat 
uneasily — feels in his pocket — sniffs his hand. POVERTY 
appears — looking through window in back.) 



120 EXPERIENCE 

YOUTH 

My head Is bursting with pain 



( Turns — screams. ) 
Look! look! there's Poverty leering at me through the 
window. 

{Shaking Delusion.) 
You lied to me, damn you — j^ou told me I'd forget. 

DELUSION 

(looking up at Youth sleepily) 
No more — no more! 

{Relapses into troubled sleep.) 

YOUTH 

I can't stand this pain — there must be some way to get more 
of that stuff. 

EXPERIENCE 

Only one way — through him — Crime. 

YOUTH 

{hesitates — then, driven by a mirthless laugh from POVERTY^ 

goes to Crime) 
All right, Crime; come on. 

CRIME 

Yes, yes, we'll go together and get it — just a minute — wait 

till they cover up that damned Chair. 
{Screams in fright.) 
Don't! don't take me there — no, no; I'm not ready yet — no, 

no! 

HABIT 

{moaning) 
Le'me go back there — just an hour — just an hour! 
(Degradation laughs.) 

YOUTH 

{sinking down in a chair) 
Oh, what is this that's tearing at my heart? 



EXPERIENCE 121 

EXPERIENCE 

The agony that tears at every heart when Nature is ill- 
treated and reviled. 

(Degradation laughs inanely — Crime and Delusion 
groan — Habit moans in pain.) 

Suffer! suffer! — we are poor lost souls — all of us — harried 
and scourged through every dark recess of hell by fiends 
incarnate 

(^Groans and moans as before.) 

Suffer ! suffer ! — miserable human wrecks, rotting on the 
shores of time — our minds nothing but dismal swamps 
full of loathsome vapors and each body the home of hor- 
rors unspeakable. 

{Groans as before.) 

Hear our groans and look at us — we who are made in the 
image of God, grovelling like beasts in the dirt of ages. 
And why — why — because there are those who call them- 
selves men who sell and barter this vile stuff that they 
may rise to riches through the agonies of the weak — a 
curse upon them — the curse of a multitude of murdered 
souls follow them through all the confines of eternity. 

(Habit screams and falls on the floor.) 

Oh ! Everlasting God ! mercy, mercy, mercy ! 

{Drops exhausted — head on table — all are moaning in 
pain.) 



THE END OF THE EPISODE. 



THE NINTH EPISODE. 

IN THE STREET OF FORGOTTEN DAYS. 

Description: A Street showing the end of a church at 
Right — with a stained glass window, 
lighted up. 

Discovered: Crime^ walking into the scene, followed by 
Youth and Experience. 

crime 
Come on; It's only a block away. I'll have to beat that 
coke peddler over the head to get it. 

{Just as they step within the light from the stained glass 
window of the church the organist plays a familiar hymn. 
Youth stops — Experience stops— Qrimk takes a step 
or two — stops.) 

youth 
Listen ! 

( They all listen to a few bars of the music.) 

CRIME 

Aw, come on ! 

YOUTH 

Where are we? 

EXPERIENCE 

In the Street of Forgotten Days. 

{They are silent as the organist goes on,)^ 

CRIME 

Say, get a move on you! 

(122) 







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EXPERIENCE 123 

YOUTH 

Walt! Some good angel has come to me on the wings of 
that music. Through the mist in my mind I seem to 

see 

{To Experience.) 

Help me — there's someone stretching out her hand to me. 

EXPERIENCE 

Your mother! 

YOUTH 

Yes, yes; my — my mother! 

(The music swells out.) 

CRIME 

Say! what's the matter with you? — Come on! 

YOUTH 

{to Crime) 
Wait — please ! 

( To Experience.) 
Tell me — your vision is clearer than mine. 

experience 
Don't you remember the little church on that green-topped 
hill across the valley — and the woman whose voice was 
kindness itself 

YOUTH 

My dear dead mother ! 

experience 
How proudly she dressed you in your Sunday best and led 
you by the hand into the cool shadows of the church and 
bade you remember always the simple teachings you heard 
there together ! 

YOUTH 

My mother — she comes to me now in the Street of Forgotten 
Days — the Street of Forgotten Days ! 

{Just then from the church is heard the hymn:) 



124 EXPERIENCE 

"Lead Kindl)/ Light, 
Amid the encircling gloom- 
Lead Thou me on ; 
The night is dark 
And I am far from home — 
Lead Thou me on !" 

(YouTH^ with a gesture, commands Crime to leave him — • 
then sinks sobbing on his knees beneath the church win' 
dow — Crime slinks off at Right.) 

EXPERIENCE 

{after a pause — as the music dies away) 
The miracle has come to pass. The never dying miracle 
pf a mother's love! 

THE END OF THE EPISODE. 



THE TENTH EPISODE. 

IN THE LAND WHERE THE DREAMER WAKENS. 

Description : The same as The First Episode. 

Discovered: Love standing by the fence, looking off down 
the lane. She turns presently and sits, 
dejectedly, on the bench. Hope enters 
from the cottage. 

HOPE 

No sign of him, yet? 

LOVE 

No — no sign. 

HOPE 

(comforting Love) 
He'll be back soon — I'm sure he will. 

love 
No, Hope; he isn't coming back. I can believe in you no 
longer. Please go away. 

HOPE 

Go away, dear? 

LOVE 

No, no; I didn't mean that. Without you, Hope, my life 
would indeed be cheerless. 

HOPE 

I knew you didn't mean it. But you must be patient. He'll 
be with you soon — even now I feel his presence near us. 

(125) 



126 EXPERIENCE 

(Hope goes in the cottage. Love remains sitting dejectedly 
on the bench. Presently Youth appears outside the fence 
— he stands looking at her for a few seconds, then enters 
slowly through the gate and stands near the bench.) 



Love! 



Youth! 



YOUTH 

{softly) 



LOVE 

{getting up quickly) 
{Embraces and kisses him.) 



YOUTH 

You — you've waited for me! 

LOVE 

Waited for you, oh! dear Youth! IVe waited when every 
hour was an age and every day an eternity. But now that 
I have you again all my heartaches are forgotten in the 
joy of seeing you. 

(Experience appears outside the fence — remains there a 
few seconds — then enters through the gate and stands 
near Youth.) 

YOUTH 

But the ring — you haven't asked me ! You see, dear, it didn't 
keep all the evil away from me because 

LOVE 

{interrupting) 
Don't tell me anything. I know by the light shining from 
your eyes that your soul is still white and clean. 

EXPERIENCE 

The eyes of Love are keen and their vision reaches to the 
distant border-land of Truth. 




Tenth Episode 
Love: "I've waited when every hour was an age and every 

day an eternity." 

Paee 126 



EXPERIENCE 127 

YOUTH 

Oh, pardon me, Love — this is my friend, Experience — to be 
evermore my best-remembered friend. He has been with 
me always and he shall be my historian. 

EXPERIENCE 

Yes, but by the fireside — later on! 

(Hope enters from the cottage. Youth goes to her and 
embraces her.) 

YOUTH 

Hope! dear, dear sister! 

HOPE 

Youth, I'm so glad you're back. 

LOVE 

{going to Youth) 
Oh, Youth, how pale you look — and worn and weary. Tell 
me, did you lose your fight for fame and fortune? 

EXPERIENCE 

He lost his first fight but in losing he conquered the evils 
in his own heart — and that's the greater victory. 

LOVE 

But, Youth, aren't you going to fight again? 

EXPERIENCE 

Of course he'll fight again. 

LOVE 

You haven't told me — where is Ambition ? 

youth 
{sadly) 
He is dead. 

hope 
No, no, Youth — Ambition sleeps but he never dies. I'll 
waken him and bring him back to you. 
{Exit Hope.) 



128 EXPERIENCE 

EXPERIENCE 

And when Ambition leads you forth again Love shall be by 
your side and Experience shall carry the implements of 
war — and you'll win this time, my boy — ^you'll win the 
heights of fame and fortune! 

(Hope enters, leading Ambition by the hand.) 

AMBITION 

{smiling) 
Youth! 

YOUTH 

( eagerly ) 
Oh, Ambition, give me your hand again and let me try to 
walk with steps of faith upon that long and narrow 
road — the only road that leads to Love and Happiness. 

(Ambition puts one arm around Youth and the other 
around Love. He smiles upon them both. EXPERIENCE 
and Hope show their approval.) 



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